No lust in Jazz

As a Spotify account holder I would like to add that Spotify and its algorithms aren't all that. I am sure that its genre invention machine will be wasted on me. Paraphrasing @BigRedX There's music that I like and music that I dislike

One of the finest bass sounds that I ever witnessed live, came from a bass player who was using a little Ashdown combo. I've never come across the Ashdown brand in a shop when looking for a new amp. My own tale of amplification woe is from Mesa Boogie

As in the other thread, we created backing tracks and a click in a DAW saved them as .WAV files and put them through a Roland SPD-SX. The feeling in the band was against running a laptop - plus the Roland offers a range of other percussion The click goes to the drummer's headphones, who monitors the count-in, starts and stops the tracks, while the tracks routed through the PA. You can have a track telling the drummer such stuff as here comes the bridge etc.. but we dispensed with this early on. The other side of, can the drummer play with a click? Is can / does the band listen to the drummer? In my experience singers are the worst for speeding up and slowing down. When we started, it was painful, as there can be a dicking around elements such as getting levels to work, making the click audible etc. but work it does.

Call a band 'Come to Daddy' and you have your own walk on music

Although I have a P Bass that I consider 'home', I've not experienced this personally. I've just spent so many hours with it compared to others. My other basses are decent, within 10 minutes of playing them, I'm comfortable.

Agreed, for me this touches on an important point with respect to the audience and the music. Even if the music is soul destroying, it can be made less soul destroying by playing it well.

We use either self created tracks from a DAW, (Reaper). We also have a self generated click track synced to the BT. This is played through a Roland SPD-SX - the click is routed to the drummer and the BT is routed though the PA - we cue off the drummer.. Not exactly Conny Plank, but it works just fine.

I joined a band where two band members did exactly this. It wasn't that they had massive egos - they are lovely people. It was more of a 'Wouldn't it be great to play this...' vibe. But no one had questioned why long forgotten album tracks weren't going to get them repeat bookings.

I know that my musical tastes are no 'kitemark of quality' so I don't worry whether I like a song or not, its a band and compromises are made If I really don't like a song, I take the view that I'm being asked to play it for an audience. I will then attempt to play it as well as I can, even seeking out live versions and other covers of the song to really 'get under the bonnet of it'. When we play it at a gig I give it my all, if the audience like it, I grit my teeth and metaphorically lie back and think of the band I should be in. If the audience don't react to it, I point this out to the band member(s) who promoted it. I keep pointing this out until my whinging is too tedious for them to keep it in the set.

I bought a custom build bass, when it arrived, when compared to others that I own, the edge of the fretboard was noticeably 'sharp / machined / keen' (perhaps not the right words). I made it more in keeping with my others by rolling the edge of the fretboard. For me this has been an improvement, this said, others may not have felt the need for this.

Rolled the edges of my bass using a socket from a socket set.

In cover bands: I used to think that my musical opinion mattered, now I don't. I enjoy playing live, but know that if we were playing music to my own tastes, then the places we play would empty pretty quickly. A couple of yeas ago someone suggested a Dua Lipa track, at the time I'd never heard of her. We played the track and people were up dancing immediately, having a good time - what do I know? I was invited to join another band, where the drummer, a mate from way back, seemed to have the desire to 'educate people on what good music is'. When I joined, it seemed that he was intent of creating a set of material to impress an imaginary cool friend. The downside of this was that the material didn't suit the singer (his wife), or the band instrumentation and alienated most of the 'Dog and Duck' - over the past couple of years we've changed this approach and are now pretty much booked up.

Yes, it can, but for all of the money and time that I've spent on P bass pick-ups, I've found that essentially they're variations on the same theme. My projects lead me to the revelation that (Aguilar, Norstrand, Fender CS, and EMG) all make P bass pickups that have differing flavours. But each 'flavour' is really only apparent when that bass is played solo. When played as part of a band the difference is pretty much undetectable. This is my experience of the Tonestlyer - a core sound that, tweaks on the rotation of the pot. Somewhere in there will be a favourite. However, the nuances of that favourite tone is lost when the bass is played live with a band. My Basses are a 90's off the wall Fender P - A Moolon P and a Fender CS. For all of the positive press of the Moolon, in a blind test you wouldn't know it from the stock Fender. This is only my input and there are no absolutes

What are you looking to achieve with your tone that an onboard preamp would offer? I've embarked on this particular journey with the Tonestyler. The issue (for me) is that these preamps sound great when the bass is played as a solo instrument, (<edit> I realise that this could be your thing), For me at least, they offer little when the P bass is played as part of an ensemble. I've also spend a lot of time on out-board preamps, a whole different topic. Again, I've been there done that, bought the T-shirt and have been disappointed by its fit. I have three P basses (different builders) that are now, as they left the factory. If I had my time again I'd invest it in trying out different strings, I've found that this has a more pronounced effect on sound Just sayin' - good luck.

In my experience, you will only know if it's for you by playing it. Carey Nordstrand knows what he's doing, but if its not for you, or indeed Will (Lobster) - no problem. Manufacturers seem to be bringing out new short scale basses fairly regularly. Aa lot of these are short versions of their core range. I don't own an Acinonyx, but a positive for me, is that it is different.

Although I wouldn't consider it a problem. In my experience, when playing a standard Jazz Bass with a pick, I often find that I inadvertently tweak the front PU volume - Admittedly we're not talking technique learned at Berklee or Juilliard, but yeah - for me its a thing, just not a particularly big thing.

I play to a level that I enjoy and have a laugh - how that sits on a scale of good, bad or indifferent - I don't care.

Did Zappa say that? - I thought that he was asked, Does humor belong in Music? as a question.. While the Scott Devine album ins't for me, I'm pleased to see that he's actually making music. I thought a weakness of the early SBL was Scott often referring to being on a 'session' - when at the time 'Discogs' indicated that he hadn't played that much.

I had a listen, musically it's not for me, not sure about the production / mixing, but there's some decent playing, credit to Scott Devine for getting involved.

I was never a 'fan', you're right, it is really bad

There are a couple of bassists that I like, missing from their list - Patrick O'Hearn & Alfonso Johnson

I'm LZ agnostic - But I'd much sooner have their under rehearsed performance captured for eternity. Versus a pre-recorded note perfect show as offered by Madonna et al. all these years later.

We used to roll around with our own PA, but now we pay for the same 'trusted' sound engineers for our gigs or if you like the client pays for them. This way we have consistency of our sound (notwithstanding crappy rooms) If we have to use an unknown engineer, we also provide a tech sheet for the band - this contains general information of set up, numbers of mics, monitor mixes and DI boxes etc.. that sort of stuff. This also does wonders in prevent that clueless sucking of teeth when presented with our set up. With the best will in the world they are just people with egos and ideas of their own, some good, some bad. The one's that present problems don't get repeat work.

I recall reading an interview with Darryl Jones where he said that despite Madonna paying for stellar musicians for the Blonde Ambition Tour, they didn't play the material girl's material live. Given the Ambition of the show, t here was just too much to go wrong with show / presentation / dance routines and a live band didn't help with this. I couldn't find the interview so it could you just be me recalling facts incorrectly

I remember going to work, at lunchtime we were in a Pub, someone put a TV on and there it was 'Live Aid' - which was described to me as something to do with Bob Geldof's charity thing. Status Quo were on and we went back to work. When I got home Live Aid was still going and I saw U2 were on, my thought was that 'this is that band that Dave at college likes' but as an event it still didn't 'resonate'. Sometime later, in a different Pub it was on a TV and a girl had a rant about the length of Bob Geldof's hair - it was a pub and so didn't / couldn't hear any music. Went home and spent 38 years catching up on snippets of it and a lot of opinions of others. A few years later I built a water tanker, paid for with 'Live Aid' funds. There you have it - 'Live Aid'