chris_b

Does the audience like what you are playing? In a cover band that is the only objective. There aren't many songs I dislike or wouldn't play, but I've refused to play songs that other members of the band couldn't play properly. IMO if you only dislike one song you're doing well. In our Top 40 covers band any song would be dumped, no matter how much we liked it, if it didn't get an enthusiastic response from the audience. If the audience liked it then my opinion didn't matter. I focussed on the mechanics of the song, playing it to the best of my ability and making it work. Hearing an audience shouting and clapping at the end of a song I didn't like made everything better again.

I saw James Brown twice. First time was in 1971 at the East Ham Odeon, with Bootsy. The show ran for more than 2 hours, was their second show of the evening and started at 1 am, and was one of the best gigs I've ever seen. The second time was at Hammersmith Odeon. It might have been sometime in the 90's. The band was still great but the show floundered a few times due to Mr Brown's "issues". James Brown invented a whole new style of bass centric music. I'll be listening to those records for ever.

IME the most comfortable straps are found on the lightest basses.

When I bought my basses they came in gig bags or cases that are either too heavy or too flimsy. When I sell the basses they will be posted in the same bags/cases they arrived in, but while I'm gigging I use 2 light and strong Mono M80 Vertigo gig bags.

All valid reasons. . . . but IMO your need might be more pressing. One lesson shouldn't break the bank.

I don't really do FB, but I'm currently receiving an avalanche of mobile and land line scam calls. The scum bags are pulling out all the stops for Christmas!

I really hope you're not trying to use one finger per fret! Is there anyone you can have a few lessons with, who can show you how to adjust your technique, so you can work around your arthritis?

Another regret. . . . in my teens I also sang, played piano and double bass. When I started to move in more capable musical circles, I let them drop. I've lost many gigs over the years because I didn't give being versatile enough attention.

I regret not networking more effectively and being less than 100% focussed. These days, I've cracked the latter but still need to work on the former!

Many thanks to Colin, Trevor, Gary and anyone else who was involved, for making the bash a great day. . . . again.

I'd take the 2 basses I'd want to play (in my case the P and the J) and make the decision after trying both during the sound check.

My TI's have been on for about 8 years. They are still youngsters. I'm using a set of JF345 Long Scale on a 35" scale Mike Lull PJ5, and the B string has about 1/2" to spare.

It's all there, fantastic arrangements, dynamics, great playing. . . and of course, those tunes. Love it, including Jerry Barnes.

It isn't one piece, it's the whole signal chain that creates your sound. From your fingers, and the way you use them, to the speaker cones, every link in that chain can make or break your sound.

I treat everyone the same. The guys I work with, including the singers, are pretty good at what they do, and are professional enough to leave any "sensitivities" at home, so no complaints from me.

I'd keep it passive and replace the pickup and wiring loom. I put a Bartolini pickup in my old Fender and there was a 1000% improvement in tone. Buoyed up by this success I added a preamp and the improvement was 10% at most. I discovered the hard way, the pickup was the main contributor to the tone.

All my gear is an evolution. I always buy stuff that is better than the current, so am always very happy. It's a different story with my playing. I'm never satisfied with that.

Always be happy with your gear. Sounding good papers over a lot of cracks in your playing! My current rig is Aguilar/Thunderfunk amps and Barefaced cabs, before that I used Aguilar/Thunderfunk amps and Bergantino cabs, before that I used Thunderfunk amps and Epifani cabs and before that I used an Ampeg amp and Mesa Boogie cabs. That covers nearly 30 years of being happy. Life is too short for bad tone.

IMO Ramps. . . . . . sorta like someone being able to ride a bike but insisting on fitting stabilizers.

I'll usually run my TH500 into an SC when I'm playing a PJ5, with flats and a lump of foam under the strings. This is a very complimentary signal chain. I think your LM3 would have a pretty good "vintage" sound through an SC. I usually run the LM EQ at 12 o'clock and both filters off. That sounds good to my "vintage" ears.

Message FDeck himself on Talkbass. He'll be able to advise.

I have a set on TI's on my Mike Lull PJ5 and a set of GHS Precision flats on a 34" Cort (which were previously on a 35" bass). I try to use the fattest strings I can find and play with a soft-ish touch and string tension is something I've never really noticed. Both sets have always played well and sounded great.

But you're not getting what I'm saying. . . . don't let your finger nails hit the strings. Change your technique so that doesn't happen.

It's not a Let It Be or Strawberry Fields, but it's as good as much of the stuff that's being written these days.