chris_b

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.

Just now, NancyJohnson said:

Happy is a little divisive.  I'm never 100% happy with my kit, right now let's just say I'm content.

 

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.

25 minutes ago, NOODS said:

i’m getting what your saying but surely if your finger nail contacts the string that’s where the harsh sound comes from? no? 

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.

3 hours ago, scrumpymike said:

 

Anybody in a band that covers All Right Now.

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.

18 hours ago, Muzz said:

OK, let's put the cutoff at 55...anyone on here still going to be gigging? Yeah, I didn't think many...

 

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!

1 minute ago, Newfoundfreedom said:

I wouldn't lump The Rolling Stones in with the rest of the pack on this.

 

Mick Jagger could never sing in the first place. 😂

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!!

26 minutes ago, Newfoundfreedom said:

We actually shortened the "I know" section in our version. Which was an improvement.

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?