Doddy

I've always preferred Jazz basses or modern 5 strings, but I've got a tour coming up where I have to play a Precision. There is something cool about a Precision, which is probably why a load of the hippest players are using them again.

Only 3 pedals? 3 Leaf Audio Octabvre, and Emma DiscumBOBulator for sure. The third pick is harder because depending on the gig I'd want either an overdrive, a fuzz, a preamp, or some kind of modulation.

Are you talking timing as in keeping a steady tempo, or more about playing rhythmic patterns accurately?

Or maybe, I can learn the extra notes on the extra strings quickly because I have a very good understanding of the fretboard? Think about it...if you have a full understanding of the fingerboard on a 4 string, then only need to learn the note positions on 2 extra strings- only one string if you're moving from a 5. How long would you expect it to take you to learn that? If you are coming at it from nothing then it's going to take longer, but if you know the fingerboard pretty well to begin with, it's a relatively simple thing to learn where the notes are. I'm not giving anyone 6 string advise. I'm just pointing out that I disagree with your points about the 6 string being a lot more complicated than a 4. However if you do want me to give you a guide, I'll happily sit down and prove everything I say.

I have the complete opposite opinion. The Sadowsky Preamp/DI is my favourite outboard to use with my passive Fenders. It just makes them sound better.

The last arena I played of that size, this was my rig...

You often see posts on here about how it's a bad thing, but in reality more people do it than you think and no one cares. If you want some brief notes on the floor or full charts on a tablet (or even a stand),do it. If you don't need them, great, but they are there if you need them. I think it's better to refer to your notes and play something right, than to keep messing up for the sake of looking 'cool'.

I agree with him. For a lot of people music is a hobby, so it will always be secondary to work and family life, and being in a band is more of a fun night out than a serious commitment. Personally, I've found that the best way to get people to commit is to offer them regular, well paid gigs.

I don't see a problem. Companies like Callowhill and Serek make/made short scale 5 and 6 strings that handle a low B comfortably and sound great. This short scale Musicman should be able to handle a low C.

I think it's interesting (strange) that they have been making signature guitars since the late 80s/early 90s, but refused to make signature basses. I can understand them not wanting to rename the Stingray for Flea ( which is basically what Modulus did with the Sonic Hammer), but if they had made a tweaked model for him I think they would have sold very well.

I still don't get why Ernie Ball are pushing various Joe Dart models, when I think it would have made more sense for them to do something like a Flea model (their refusal to do that was why he went to Modulus), or a Pino fretless. Although, it looks like the Vulfpeck fans are eating it up. The video just highlights that Jack Stratton's forced personality annoys me, although the bass sounds pretty good.

Theory can definitely help with improvising because just knowing the notes that are in the chords (or even just their shapes on the neck, up to a point) gives you options of notes that you can safely use. A teacher can definitely help, but noticable improvements can take a while to show, depending on how much you practice the material outside of the lessons. I'm sure you could find some players who are at a similar level to you who would be happy to practice and jam together?

So they are a crutch, but they come in handy for tapping and slapping? So, not a crutch then. I don't use the hair tie/fretwrap thing often, although I have them on a couple of my basses. (A hair tie went straight on my bass after aayching Victor Wooten on the Bass Day 98 video). I mainly use them with certain monophonic synth pedals which are sensitive to sympathetic vibrations and tend to glitch at the slightest overtone.

This part kind of jumped out at me. I understand that simple basslines can be boring to play at times but if you feel like you are tone deaf then learning these songs are perfect to help improve your ear. You'll also start to notice reoccurring chord progressions which makes learning other songs easier. With regards to improvising basslines, one of the best things to do is to sit down with other musicians and just play over some changes. Even something as simple as a 1 or 2 chord vamp, or a Blues, are good ways to start coming up with lines.

But you did say that if you don't find a 6 complicated then you lack fretboard awareness, and that 5 & 6 strings are for if you play in a box all night. I just countered that rubbish by saying that it doesn't matter how many strings I'm playing, I know exactly where to play the notes over the entire fingerboard. It's not about playing boxes and shapes.

Seeing how often people seem to change their pedals around is the exact reason I stopped using a board and just put everything on the floor instead.

Bass in general or bass guitar specifically? Because there is a lot of music without bass guitar, but there is still something happening in the bass register.

I was just going to jump in and comment that I've got a few compressor pedals, and have used them on maybe a dozen gigs over the years. I don't particularly like them up front because I prefer how my pedals react with the compressor off, so when I do use one it's normally to tame my signal at the end of my chain when I'm stacking a lot of pedals. A few of my favourite players use compressors all the time, and I love their tones, but they aren't an essential piece of gear for me. Is that cool, or do I need to state my gig credentials first?

I like Doug, but I find his work can be hit and miss at time. I know guys who have beautiful instruments of his, but then he fitted a new nut to my Jazz Bass and left a gouge in the neck.

I've doubled on electric and synth bass on gigs before and it's no real extra hassle to set up. The main thing is do you want to run it through your rig or are you just going to DI it straight in to the desk. If you want to put it through your amp maybe look at something like a Boss LS2 so you can split your signal. I'd also look at a way of muting your bass so that you don't knock the strings when you're playing keys. I've used the Akai Miniak a bunch. It's got some really good sounds in it. It probably wouldn't be my first choice for piano sounds but it's definitely passable, although it only has a 3 octave board. For synth sounds though, it's great for it's price.

I think now it's very rare to hear any recorded vocal without some form of pitch correction. I guess it's cheaper and easier to use auto tune now, than to do it the old school way and just get a session singer in to ghost the part.

I used to do the same height sitting as standing but not every bass felt comfortable when standing becausr of things like balance and body size/weight. So now, I wear them so I can play the whole length of the neck comfortably, and so I can go between fingers and slap easily. Normally this is with the top horn just below chest height. I like what Dean Ween says- Have your guitar above the d!ck or below the d!ck, but never covering it 😄

First of all, there is nothing wrong with my fretboard awareness, and I'm fully aware of every note on the instrument as well as what notes are in what scales and chords. Positional playing can be a big help if you're on a reading gig, particularly if there are big leaps in range, because it's all there under your hand.Even if you're not reading, you can play more in the middle of the neck rather than in the lower positions. It's not about playing in a box, or playing a beginner shape. Like I said earlier, you also get a 3 octave range within 12 frets, which is something that is not possible on a standard Fender. That is one of the main reasons I like a 6 for gigs where I'll be soloing, even though I play 5 strings most of the time. I guess players like Anthony Jackson and John Patitucci are limiting themselves to beginner box patterns and need to improve their fretboard awareness?

They could have had a bit more variation of companies and I'm surprised they mentioned Rotosound just for their flats and tapewound strings, when their rounds are what they're known for. Personally, I've tried a lot of strings and end up going back to Elites on most of my basses. Although lately I've been loving the exposed core LaBella Super Steps.