Lo-E

[quote name='EssentialTension' timestamp='1450372691' post='2932175']I have on more than one occasion got away with a bit of slop on bass in a live situation.[/quote] I certainly have as well - and still do from time to time, as does most everyone. Even consummate musicians blow a clam every now and then. Perhaps this means bassists can flap as well? Having some reasonable guitar skills, but being a bassist primarily, I tend to admire guitarists who play extremely rhythmic styles. The first person who springs to mind is Nile Rogers. I don't know if I've ever heard him play a sloppy part. Ever. And he's just one example. Musicianship is something posessed by musicians, not instruments, and I don't think any hypothesis that suggests the players of certain instruments have it easier than the players of others can hold much water. To play any instrument extremely well, one has to put in a lot of work even if that instrument is a tambourine.

I've always been hot and cold on his solo stuff, was really impressed by his Weather Report stuff (especially his grooves when he wasn't soloing), but his work with Joni - Hijiera and Mingus in particular - was absolutely mind-blowing to me. I still get chills when I listen to Goodbye Pork Pie Hat, and I bought that record around 1982, I think.

Hello and welcome, Al.

I've always had my best luck with an EV RE-20. I also like a Beyer M88, Sure SM-7, Senheisser 421 or, for a more agressive sound, a good, old-fasioned SM-57. The 421 will bump the low mids nicely on caninets that tend to sound a little scooped, such as older SWR cabs.

I won't laugh at your expense; everyone has to start somewhere. Congrats on getting up in front of people!

[quote name='CamdenRob' timestamp='1448436144' post='2915329'] I was looking at these a little while back and came to the conclusion that when loaded with two bases it would be too heavy to carry and therefore of limited use... [/quote]I use my Levy's on the NYC subway and, yes, it's very heavy to carry two basses on one's back but for gigs where I need a fretted and a fretless, I know of no easier way to do it. Carrying two separate cases is, IMO/IME, even more cumbersome. The backpack straps definitely help, and the more modern bags have much better padding in the straps, which offsets their extra weight to some extent. I think the Mono probably has the edge in terms of weight:comfort. No matter the bag, carrying two basses is a bear. It's just a question of which bear you want to strap to your back. If I'm not mistaken, Fusion bags have not only backpack straps, but also a hip belt to help distribute the weight better. That seems like an excellent solution to me. I would love to try one of those out, but they're very hard to find here in the States.

Be sure to let us know how it works out.

I have a Levy's that's got to be going on 15 years old and it's still in great shape. It doesn't offer as much protection as some more modern bags, but it's also a lot lighter, which is something to consider when you have two basses on your back! I have a single igig bag, which is built like a tank and I'm sure the double is equally butch, but it's heavy even when empty. FWIW, I compared the igig to the Mono when I was shopping and found the igig to be much tougher, but also considerably heavier. The Monos are still great bags.

The trick that has worked for me for 25 years is to use the cover of a matchbook. File the slot until the file just starts to scrape the shiny coating off the paper matchbook cover and you're done. Adjust to taste if necessary.

I have not personally seen any tapewound strings with a taper, so I can't advise you much there. As far as tension goes, tapes aren't any more taught than a normal set of flats so any bass should be able to handle the tension without any problem, although a truss rod adjustment may be in order any time you change the type of strings you're using. Also note that Warwick necks can be slower to react to truss rod adjustments than other basses because they use very stiff, dense woods, so be patient when you adjust the action. Some tapes are extremely fat and may require you to widen the nut slots (Going solely from memory, I believe Roto-Sound falls into this category) so make sure you read up on whichever strings you choose.

I followed this thread over from your first. Glad to hear you're being well taken care of. FWIW, the guys at Aguilar stand behind their products and are great people to deal with as well, but it's even better that you were able to sort it all locally. I have used a TH500 for NYC gigs for several years, using all manner of house backline cabinets, and the treble control should indeed have an audible effect. Here's to your replacement being better behaved!

I tend to choose based upon the house engineer. I'd rather pay for a good set of ears than a room full of the latest equipment. In the interest of full disclosure, I used to work, many years ago, as a recording and live sound engineer, so if I'm paying for studio time I want to be sure the person behind the desk is better at it than I am. In addition, I prefer a space big enough to track the full band live, or at least the full rhythm section. That takes a back seat to the skills of the engineer, though.

Mingus in his prime. Ditto Monk.

I belive it was Dave Pomeroy who, when asked about playing country lines, said "Find the simplest line you can possibly play, then play half of that!" All kidding aside, he made an excellent point. Country bass playing is an absolutely ego-less excersize. Everthing is best when stripped down to the absolute core components. Surprisingly enough, it can be a lot harder to pull off than it looks.

Pretty interesting that this thread resurfaced after three years lying dormant. So many basslines from the eighties. So many great ones already mentioned. Where to start? It's an embarrassment of riches.... Here are two just off the top of my head that are a bit of the beaten path of most of the thread: https://www.youtube.com/watch?v=WQgu0MpnKq8 https://www.youtube.com/watch?v=0nkMhU1SulM

[quote name='rmcki' timestamp='1447368960' post='2907240'] I have the J-Retro, but was considering changing to the J-Retro flat response. I thought I would do a sanity check before changing. [/quote]Nothing insane about wanting to try something else. If flat response is something that appeals to you, Delano and Glockenklang are certainly viable alternatives to East. We're living in a bass gear renaissance right now. There are so many choices for anything you might be looking for. East makes amazing preamps.... but so do Glock and Delano! I've heard great things about Noll, too, but haven't heard one yet. I have a suspicion they don't suck, either. It's a great time to be a bassist.

Very attractive! Enjoy your new toy!

Otto's Shrunken Head in NYC. Small room, fun, enthusiastic crowd. Played a good set, made a few new fans and left with some beer money in my pocket. As an added bonus, the singer and guitar player got on well with each other (that's not normal) and some pretty girls flirted with me and the drummer (that's not, either). All in all, I have no complaints!

[quote name='EssentialTension' timestamp='1447793535' post='2910514'] GHS Precision Flats 3050M are OK strung through-body. [/quote]. They also have a nice, even sound and a very smooth feel. For flexibility, you can't beat TI flats, but the sound is very mid-forward. Personally, I love TIs on Rics and Jazz Basses, but I find them too mid heavy on Precisions. You might also want to explore Sadowsky Black Label flats for a very even feel and tone.

I agree with Bill F completely and will add that I suspect that many cabs that are built to a budget will employ L-pads that are borderline or downright underrated. Stepped attenuators or on/off switches are much better options than budget L-pads but most manufacturers build to a price point with little regard for long-term reliability.

[quote name='Lw.' timestamp='1447149875' post='2905204']It'd be rude not to get an Ampeg head wouldn't it?[/quote]words to live by!

I've been using XLs on and off since I started playing 30 years ago. A small, family-run company that has been making great strings at fair prices for as long as I can remember. There are lots of great strings on the market now. More choices than I can keep up with, really, and I like to mix it up, but whenever I go back to D'Addarios it's like familiar territory. A safe haven.

[quote name='LukeFRC' timestamp='1446903772' post='2903369']I wonder for a lot of us if we don't spend enough time with new gear before deciding to move it on? [/quote]I have exactly the opposite problem: I've been playing long enough to have a very good idea of which basses will be great after a good setup, so I buy them and then I NEVER want to let them go! Space is becoming an issue. I'm very lucky to have a forgiving and understanding wife (and an ever-growing stable of great basses).

[quote name='bassbiscuits' timestamp='1447108001' post='2905029'] I guess the attitude of the person responsible is what annoyed me most - at least if she'd seemed apologetic it would have been my turn to say "don't worry it's ok" which is probably what I'd have done anyway. [/quote]Her condition was undoubtedly a contributing factor to her behavior. Perhaps, had she been sober, she might have been more apologetic. It's a sad reality that, as entertainers, we often owe repeat bookings to the same sloppy drunks who trip over our gear from time to time. While she was wrecking your PA, some other, equally soused person may have been slurring to the person who booked you "These guys are amazing!" Happy drunks can get us a lot of work. I think your handling of the situation was the right approach. It's all just part of the game. Carrying specific insurance on your gear (in addition to your basic liability) could be a helpful tactic. I also suggest sand bags - the type used by film crews - to lay across the legs of your speaker tripods. Not only does the ballast make it much harder to tip the speakers, but the sand is less likely to injure a toe if another tipsy reveller gets too close to your PA.

I'm somewhere around 20 years now with my SVT3-Pro and it's still a solid performer. For the styles you mention, it's the first head I reach for. I have several heads, all in the same power range, that are voiced quite differently and which I use for different situations but for straight up rock punch and grit, it's the 3-Pro every time. For the record, mine's a '93 I bought used sometime around '95 or '96 and it's never let me down. Countless gigs and all kinds of different cabinets.