No lust in Jazz

I didn't meet Vic - I spoke to him a number of times on the phone and bought a number of items from BG - He was always warm, engaging and enthusiastic, remembering me from my purchases. Very sad news.

I'm not sure that this is a problem with this bass or a fundamental design problem. One would expect that the string would be flat on the frets with the bridge in its lowest position. Sorry I don't have answers

I think that the secret is not to worry about it - just play the music. I have similar views to those expressed in earlier posts, regards feeling at home on a four string or keeping them for 'sentimental' (couldn't think of another word) reasons. The reality is a five gives me more options for voicing parts and I have now have two; the more I play a five the more comfortable it has become. I have some four string basses, which I currently have no intentions of moving on

The pick up is brazen, wild open and wonderful, I'm a P bass man, I currently prefer this to the Aguilar in my Fender and the Xotic PU's in my Xotic basses..

That's a good looking bass.

In respect of weight, I've played heavier 5 strings (Xotic Jazz) but within reason, just as important as weight is balance and this is pretty well balanced. I played a gig with mine at the weekend, (LiveRooms in Chester) the comment from the engineer who sees a lot of pro bands was - 'That's one of the nicest bass sounds I've worked with'. We recorded the gig and having heard the raw desk mix I see why he said that.

Emily's D+Evolution - Esperanza Spalding

Edward and Mrs Simpson

[quote name='Painy' timestamp='1481469503' post='3192468'] Squier Vintage Modified Precision 5 string. [/quote] This

I bought one of these recently, I bought it as I wanted a five stringed bass with a maple board and nothing that I fancied had come up in the classifieds. I originally thought that I'd be changing stuff out on it - but no - ok the bridge is a BBOT, it works, the tuners stay in tune the pick up is wonderfully boisterous, the electronics - just work. It took a bit of setting up out of the box, I rehearsed with it last night playing the material for our forthcoming Xmas gigs - something about its simplicity just put a massive smile on my face. Its just a great bass - irrespective of the £250 price tag. Here it is at the sound check of a recent gig

I enjoyed that, thanks.

Quotes won't work..! I love funk music, but, I generally don't feel 'funk' when I hear slap played - I associate Slap more with pop music, even then pop music of the 80's.

[quote name='nash' timestamp='1480682283' post='3186351'] If it works for you then it works. I'm now toying with the idea of a Source Audio Aftershock to go with the Ultra [/quote] Quite. My advice is this - I haven't owned a pedal that didn't benefit from some period of leaning to get the 'best for you' out of it - could be you don't and will never get on with it - which is fine too

I use a Darkglass vintage ultra - still learning it really - I have the clean channel for just that - set the distortion channel for 'hint of grit' and toss this signal into a B3K if I want more. The whole lot goes into a EBS microbass II - the DI from this then goes FOH, the output goes to a powered cab - its not 'elegant' but I like it.

I've ditched the amp head and run a couple of pedals into a powered cab for monitoring sending the DI of one to FOH.

We started filming gigs - ouch. To me, my biggest issue was posture - dropping my shoulders, followed by not facing the audience - the key is practicing what you want to get across. Mean and moody - no problem. Moves like Jagger - no problem (if you have it) I've developed a good Tracey Pew gyration of the hips while staring at the audience for our Christmas gigs.

We once played a gig where the power suddenly went on all of our gear - transpired that the landlord of the Pub had run a cheap cable reel from the upstairs rooms and changed the fuse in its plug for something beefier than the 3A that the reel was rated for - the sudden power loss was due to the insulation of the cable melting and the resultant short circuit - Oh how we laughed.

A lot of years ago we were playing a 'festival', I'd laid my jacket at the front of the stage, near the monitors - mid song I saw some youth going through my jacket pockets, I ran across and kicked him in the mouth without missing a beat - thought that I was going to have trouble with his mates afterwards while I was in a 'bring it on mood' - it messed with my concentration and wasn't a great gig.

Here's my PB-300 'Ear-box'

Pretty much agree with BarneyG42's post above - They've had longer serving keyboard players who were never part of the band.

Yes - ^ makes sense now

Update - whatever was done appears to have worked. Many thanks

^ Great Post

Slap isn't my calling, but when the band wanted to do a number that featured it, I found that like other 'methods', it can be learned.

Active - I like the Xotic Pre-amp that's in their XP range. Passive - TBH I've tried Seymour Duncan, Nordstrand, Aguilar - but a tweak on the tone pot or the amp input will make up any differences between them.- in a band context forget it.