Doddy

No one playing Jazz standards is playing anything that is exact to any recording. It's generally a far more creative scenario than the majority of rock cover bands.

I've heard, and played with, a load of cover bands who claim to play exactly like the originals, and I can safely say that absolutely none of them ever actually have. Some get close (usually the ones who have everything charted), but most are quite a way off. But, you know what? As long as the important parts are there, it's not a problem.

I used to have a slight boost in the midrange, but I've gone towards a slightly scooped sound now. I find that my sound has more definition now- It's clear and full in the low end, and crisp and clean in the highs. I also find that my effects work better now too.

I'd always recommend an octaver or an envelope filter, but as you don't want those how about something more out there like a ring modulator or a Meatbox style sub? (Or a delay or phaser would be cool, and more sensible. Less fun though)

Because having a great sound and using effects are mutually exclusive, right?🤦‍♂️

I find it interesting that Ernie Ball are doing so many custom/signature instruments for Joe Dart, but wouldn't for some of their biggest users (Flea/Pino/Levin for example). They've obviously found a market though, judging by the sales of his other signature models. Ernie Ball will probably release this as a limited run of 50, and they will sell out to all the Vulfpeck fans.

It's heavy, but nothing that a quality strap won't sort out. The finish is a bit nice though.

Like I've said before, asking for an advanced soundcheck sucks, but I almost can't blame the venue for being cautious. So many comments are coming with a "F You!" attitude, and venues/planners/brides, don't need that. Wedding bands charge the money they do to deal with hassle like this and to cooperate with everyone involved. It's a shame that venues and wedding planners have to be tools sometimes but unfortunately, too many bands have brought it on themselves. Once bitten...and all that.

I've been looking at that Candy Orange 5. I think I'd have to sell a couple of things first though.

Some pedals can be really temperamental with high output, active instruments. You really need to experiment to see what works for you and your gear. Everything in your chain, will affect how the pedals react. I've got a load of drive pedals, and I've found that for overdrive I really like the EQD Plumes, Fuzzrocious Oh See Demon, and HBE Hematoma, while for a Big Muff style fuzz, I like the Greer Tarpit, and the Nine Volt Fishing Is As Fun As Fuzz.

But the guests aren't being hired to work at the venue for the night. There must be someone in the band who can liase with the venue? The reason wedding bands charge what they do is partly to deal with situations like this.

The request to do a set up/soundcheck at an earlier date is crazy, but I honestly think it's just a way to try to scope out the band to make sure they aren't knobs. Every wedding venue has their recommended suppliers for bands, catering, decorations etc. They know who they can trust to turn up and be respectful and do a good job. They are unfamiliar with this band so they want to know that they are cool. One member going to the venue for a chat (or even a phone call if it's too far to go) with the boss/planner could possibly sort it all out.

If you want a decent, new 5 string in that price range, I'd be inclined to look at the Sire V7.

Maybe they just need to meet you to see if you are cool? If the venue is local to you, can't one of you (the bandleader ideally) go down to spec it out before the gig? It's not uncommon to meet with the venue manager and/or wedding planner before a function, although a full band soundcheck beforehand is crazy. These venues have their approved bands because they know that they are going to respect the venue rules and not act like tools. They basically want assurance that you are going to be accommodating and easy to work with.

I don't mind their modulation pedals- I especially love the old BF-2 Flanger.

One of each for me would be..... Jazz Bass Precision Bass 5 string 6 String Fretless Upright Moog

I get the prejudice against Boss. I felt like that for a while until I realised that a few of my favourite pedals are made by them. It's easy to get caught in the boutique pedal world, but Boss make quality pedals (and they are bomb proof). I love 'em.

It could possibly cause a few problems if you solidly anchor on the pickup, mainly because it's easy to apply too much pressure on the thumb, but also because as you move up to the higher strings it can introduce a sharp angle on the wrist. It's generally not a massive problem, but it could be if you do it for prolong periods of time.

They look great, especially the burgundy mist over sunburst. Almost makes my GAS shift from Sadowsky to Xotic.

What I'm told

I'm not a fan of the Rotosound Swing Bass either. If I use anything different, it's usually LaBella RX and Super Steps ( maybe D'Addario Pro Steel if I need some string quickly)

I don't think there is any need to worry about the quality of Elites. As far as I'm aware, they are made by GHS. I've used (and endorsed) Elites for years. I don't use the Players Series because I don't particularly like nickel strings, but their steel strings are my favourites. I occasionally try other strings, but always go back to Elites.

Sire make a fretless in a bunch of different finishes. Sure, they have lined fingerboards but it's not really a big deal. Most people who are going to be buying a budget fretless will likely be people who are just starting to dabble on fretless and will probably prefer fret lines.

Kind of. I always wanted to have that active Jazz sound like Marcus, and I kind of still do. I don't want to sound exactly like Marcus but somewhere between him and Will Lee will do. I've been playing a Precision Bass a lot, and I've been going for a more aggressive tone similar to someone like Kevin Scott.

The best way to build up speed is to make sure you can play the line accurately at a slower tempo and gradually build it up. Maybe start at a slow tempo like 60 bpm and get the line nailed, before upping the tempo by 5 bpm. When you get to a point where it's tripping you up, knock it back 1 or 2 bpm. It might take a while but you'll get there, and more importantly, it will be accurate. Technique wise- don't dig in crazy hard, try to keep your wrist straight, and don't put too much pressure on your thumb if you are anchoring it to the pickup.