No lust in Jazz

I've got Frank Zappa's autograph.

Captain Beefheart Hendrix

I like this one.. [media]http://youtu.be/fZSMDaewz2A[/media]

Whether its a piece of wood getting dusty is up to you, the more practice that you put in the better you will get. At the end of the day its all about making music whether on a P bass or a 6 string and as long as you enjoy it and no laws are broken - go for it.

It Bites - Manchester 1986, went along with some mates who were smitten with them, for me they really sucked. On a positive note they were supported by The Cardiacs so the night wasn't wasted. There have been others others but It Bites, take the crown.

I've had a six for good while now and I have no regrets about getting one. (At one point I owned two) I just enjoy playing music on it, the extra strings allow you to 'get under the bonnet' of the chords and melody. If there is a downside, it is when I pick up my P bass I tend to 'shred' a little too much.

I've had a few, old and new, the only P bass I have now is a mid 90's American standard which I bought new - its totally stock and I could tell you where and when every ding happened. I go through phases of flats or round wound strings etc.. its played everything from cock rock to jazz that was so far up its own rectum we needed surgery to end a number and its the one I'd save from a fire. I also have an Xotic XP 5 string which is superb - we played live recently and the sound man had a total hard on for it.

May I ask why you're looking for an alternative to a P bass? - the right one is unbridled joy. But the sound can be approximated by other instruments.

No.

While it probably isn't the cab for you the Phil Jones PB300 powered cab is properly naughty with a preamp pedal in front of it.

I respect a man that plays jazz with a P bass through an SVT.

Regarding 'gear' in my experience, some works / blends better than others - As others have said in the past, gigs were still successful with bass amps of much smaller wattages than are commonplace today. My most recent gigs have been with a Phil Jones rig and the bass sound has been phenomenal - I've owned a load of stuff and believe that this is down to the thought process applied to its design rather than what's on tap with the volume control. But the biggest improvement I have made, is due to my attempts to isolate the guitar sound from by bass rig - usually with the mixing desk cover.So that much of the uncontrolled mid frequencies from the guitar are not straight down my ears.

Although before my time, I always struggled with The Doors - Musically fine and then there's Jim. To be fair it could be the 'industry' that has grown up around him since his death - then again....

I bought Chris's PJB flightcase. An easy well packaged and effortless transaction delivered to my work place. I would have no hesitation in buying from Chris in the future.

Its just gear with different price points, you pays your money etc.. But I always enjoy a review of a higher end bass when the reviewer says '..and it can do that P bass tone'...

I'm a recent convert to PJB stuff - I think that their gear and importantly, the sound from it is excellent.

Xotic XP series - Passive it will out P a P - Active its a P that's had its first pint.

Doesn't the Briefcase have a Bass Buddy as the preamp? That will 'dovetail' well with the PB-300. If that isn't exciting enough you can run the big head from a phone charger as a power source.

Does this active bass have a trim pot on the pre amp, to cool down the signal? My active basses have this feature..

[quote name='ubit' timestamp='1435902117' post='2813387'] Glastonbury is no longer a music festival. People have their tickets bought long before any of the acts have been booked, so you never know who's going to be playing. There are so many stages and other things going on that it's become ridiculous [/quote] It isn't just a music festival - there's a lot going on which is totally unrelated to music, it was ever thus.

We always have a FOH engineer and our fee pays for this. Feedback from clients and punters plus repeat gigs tell us that this is worthwhile. Areas that we have worked on include: Sorting out parts for the guitarists so that they are playing the music not constantly duelling. Sorting out Keyboard patches so patch changes do not present dB boost problems As we've worked this out we have got quieter, leading to my use of a powered cab as monitor rather than using a Bass 'dreadnought' rig.

For reasons unknown I can't quote posts - but the two offerings from JTUK make a lot of sense. Where things get a little weird for me on stage is being caught in monitor mix / backline cross fire - e.g. a vocalist guitarist wanting some more guitar in his monitors in addition to his backline, I've found that this can overwhelm the bass as balanced with the drum kit, there isn't a dedicated bass monitor mix / not enough monitor mixes and the answer isn't to turn the stage bass volume up - so for now I'm moving away from a backline set up

[quote name='bassman7755' timestamp='1435814425' post='2812605'] You could get creative and try something like having a small powered wedge monitor which is slaved to your amp and pointed directly at your ears. [/quote] My latest experimental live rig is pretty much this - preamp DI to PA and a powered cab; the powered wedge monitor is plan Q in a long list of sequential plans.