chris_b

I play the high bit an octave down. Works just as well.

I'd look at your technique first. Your bass might not be the problem. Seems like you're describing hooking your fingers behind the strings and tugging. Pulling through the strings parallel to the fingerboard. That's quite an aggressive technique, which would probably sound better with a very high action. I play across the top of the strings, ie looking from the nut to the bridge, 11 o'clock to 1 o'clock, 2 at most. Like this I can play with a lower action, with less energy, more accuracy and an even tone. Plus I'm only using the pads of my fingers, so the nails don't come in contact with the strings.

Did you actually use a credit card? Maybe the spaces caused by the printing would have an effect? I would prefer to use a solid piece of plastic and cut it to the size of the contact patch between the body and neck. As long as the join is as tight as you can make it, I can't see why a shim would not be OK.

You think 55 is a cut-off point for anything? A more realistic cut-off point is when no one will buy your tickets and when the phone stops ringing.

Buy an amp!

Neither could Brian Ferry, so why didn't the "authorities" ban them years ago?

Stevie Wonder is 73 years old and still singing his songs in the original keys. OK maybe he's unique, but I believe he regularly sees a voice coach. That might be the answer for these other croaking singers.

What a ridiculous post. The older generation, the Solid Silver 60's Show tours, are still playing to full houses. Who gets to decide that they have no right performing in front of all those paying customers?

100% of replies, over 2 pages giving you exactly the same advice. I don't think I've ever seen so many people agreeing with each other on Basschat!!

Leave it out altogether.

When I bought my Precision bass in 1969, I joined an "elite" bass players club. Everyone on the club circuit played a Precision. Apart from the cool factor they were cheaper than the equivalent quality basses on the market, they were bullet proof on the road, all the guys on the US records played them and it was almost impossible to get a bad sound out of one. They were aspirational instruments if you wanted to be Duck Dunn, John McVie, Phil Chen, Carol Kaye, Jamerson etc etc. After nearly 80 years a Precision is still the bass of choice for so many touring bands. Probably for all the same reasons. I moved away from Fender when I switched to 5 string basses. They were late to that party and never really caught up, but I'd get another Precision in a heart beat if I went back to 4's. In 1969 the quality of cheaper basses was abysmal. Thank goodness for CNC machines.

It's simple for me. Either like a song or ignore it. Hate a piece of music? Why bother?

The song wasn't complete when Bill Withers went into the studio, so he sang the "I know's" until he could record that verse later. Afterwards everyone said keep it. It doesn't bother me when it's done right. Trouble is most singers make a mess of it. I know it's difficult when your toes are curling, but blame the singer not the song.

Every band plays differently and it doesn't matter to me if I'm playing someone else's lines or my own. I'll approach originals, covers and interpretations with the same care and attention.

Knowledge is always a good thing, but we don't have to be brilliant technicians to be good bass players. We just have to put the right notes in the right places and make them flow. Do that and you've already made the band better. The rest is the icing on the cake.

I do not consider myself a hobby player. When I'm asked to play a song, liking it or not is irrelevant. Playing it so the band leader can't tell the difference between me and the original is the main objective, closely followed by getting that second phone call. I play lots of music that I wouldn't listen to for fun, but I can still enjoy the process of playing it in a band. Making the music is the fun part.

My experience, not yours.

In my experience, better.

I have a Super Compact and a One10. For one cab gigs I always take the Super Compact. Move more air, get better tone.

I was once in a 4 piece band with 2 other bassists. They had switched to guitar.

Barefaced cabs will give you much improved dispersion. You'll clearly hear every note, even when the cab is at waist level. The rest of the band will hear you more clearly and your sound will be improved out in the room. Plus, good news about your hearing protection.

If your guitarists have gone bat-stinky poo crazy and you need to join in that game, the minimum I'd go for would be an 800 watt amp and a quality 212. Both (Genzler MG800 and Barefaced BT2) can currently be found at great prices in the BC Classifieds. You can easily stay ahead of your guitarists with that rig. More importantly, your band has started to play Russian Roulette with their, and your, hearing. The most urgent thing on your to-do list is to be measured up for ACS moulded earplugs. I'd suggest the 26dB ones.

Born Under A Bad Sign by Albert King. Spanish Moon by Little Feat. Sex Machine by James Brown. ps Sing A Simple Song by Sly and the Family Stone

Sad news. I last played there about 10 years ago. Always like it as a gig.

It's always nice when you play with good people, but you can't beat good players. In the past I have done many great gigs in bands run by total a-holes who were good musicians, but they were great gigs. As long as they're not cheating on the money, I'm not going to complain. These days I seem to be meeting and playing with good bands, musicians and people. There are not enough gigs, but even so I'm living in good times.