chris_b

This. My band at school had a 3 piece brass section and we had a rule, if anyone needed to tune up everyone else had to shut up. When the call "Tuning" went out you shut up or you got told off.

Get one of these and call the band, tell them you changed your mind!!!!

Radio Friendly? Depends which programs you listen to. For me it's anything recorded out of the Stax, Fame, Hi, Atlantic, All American, J&M, Cosimo, Muscle Shoals, Chess, Malaco and Motown studios in the 60' and 70's. That's anything from Mustang Sally, to Respect Yourself, via Heard It Through The Grapevine, Spoonful, Do Right Woman, The Night Time Is The Right Time, Mr Big Stuff, Take Me To The River etc.

You can play any style of music on any bass. If you are totally new to bass anything we say will probably be wide of the mark. You have to play some basses and find out, first hand, what it's all about. Half an hour in a shop trying basses might convince you that you should really be taking up the saxophone instead!! Anyway, don't make any decisions until you've tried some basses.

Mark as sold and dooooooooooooooooooooooon't delete the details in the thread!!!!! OK!!

I'd suggest that you get a second band. A change is as good as a rest etc. And give me a call if you want to dep any gigs out.

Find a good teacher and have some bass lessons designed to push you in new directions. A breath of fresh air and being pushed to achieve by someone else can jump start your interest. I did that last year and while it hasn't dramatically changed me, I play better lines and with more confidence as a result.

There will be a significant change. It's a totally different cab. There will be increased lower extension due to the larger cab size and different tuning and extended highs due to the tweeter. Call or drop Barefaced an email and they'll get back with the definitive answers.

A pre amp is a pre amp, whether it's in the bass or in a box on the floor shouldn't make too much difference to the sound.

IMO I'd probably agree with the band. It's hard to accept, I know, but the flow of the gig is usually more important than any benefit you can get from using different basses. I know the subtle differences are important, but keep that for the record. The gig needs to gain momentum and even guitarists swapping instruments can slow everything down. Someone should give them a slap when they take 5 mins to find the right sound on the pedal board! Of the recent gigs I've seen none of the bassists has changed a bass, from my local gig to Vulfpeck, Keb Mo, Jon Cleary and Vintage Trouble, and on Youtube, from The Allman Brothers and Bryan Adams to Toto, one bass covered everything. When I saw the Stones, from the back of the O2, Daryl Jones's sound was exactly the same, even when he switched basses!

Does that have a low B? What do you think of the sound? Is it a "universal" instrument or does it sound better on certain types of music?

Have you thought about using an outboard preamp? All the tone and none of the work?

There are two ways of looking at this. Either more is better or more is just needless showing off. I'm on the "One bass to rule them all" side of the discussion. Get the best sounding bass you can buy and find a way of making it sound great in everything you play. Buy a good bass and the rest is easy.

When Kenny Jones played with the Who JE didn't like his style, but he did give Jones a complement when he said, it was the first time he'd played with a drummer who finished a roll around the kit at the same tempo as when he started! So dodgy timekeeping and drummers goes right to the top!

Daryl Jones in the Stones switches between P basses and his Laklands. Bassists can switch between many basses in the studio, but most tend not to on stage. Drums and bass tend to stick to a collective sound whereas the front line can be changing their sound and effects on every verse, let alone song.

Sorry but you dismiss 5 string basses without understanding them. They are more than a few low notes as is regularly explained every time these negative 5 string posts come up. 5 string basses will find the "holes" and short cuts in all techniques. Short fingers just means you need a better technique. I have numbers that I play on 2, 3, 4 and 5 strings. So the most practical bass for me is a 5 string bass, rather than a selection of 2, 3, 4 and 5 string basses.

Exactly. This subject is always mired in negativity. It required far more effort to pick up a 4 string bass and learn to play it than it ever takes to adapt to a 5 string bass. Make it a positive move, that enhances your playing, and there is no down side.

Ah, the silly things kids come out with!

He played bass on most of their records and AFAIK none of their live shows. He was a frontman playing sax on the gigs. Felder was a first call studio bass player in LA and his Precision would have been his starting point in the studio, as it was for every other bass player.

IMO it's a healthy approach, to finish a gig and think I could have done some of that better. . . . . and then you do something to improve the areas you identify.

When the Crusaders went on tour they used various bass players, most of whom didn't use P basses. I saw one guy using a Fender Jazz and I'm sure there were others. So the record is there as a reference, but you don't need to follow too slavishly. It is just as valid for you to have your personal take on a bass sound. PS Just remembered it was Robert Popwell playing the Jazz. The Crusaders Street Life video has a guy playing a Stingray. So different players and different basses. Looks like they didn't have any "rules" about which instruments should be used on stage. The original studio track: https://www.youtube.com/watch?v=-iVR7WLsvAg The video track: https://www.youtube.com/watch?v=dRBYsINSUZ0

There may be others but I would bet that Labella flatwounds have been continuously available since the 50's. Many/most of the studio players used flats from the 50's right through to today. Flats created the sound of choice for many producers during that time. The world of bands probably did ignore flats for many years. Jamerson only started to lose work after he moved to LA. The LA sound wasn't the Detroit sound and he couldn't adapt. When you've been the highest paid studio bass player for over a decade that's probably understandable. His problems were less about the strings and more about his ego and his inability to change into something LA wanted and he didn't. Even in LA at that time, most studio players had Pre CBS P basses with flats but they were flexible enough to bring a selection of basses that has strings which could be tuned.

I know what you mean. I thought I'd be a much better player after this amount of time! I see a few bass players out of college with a technique that I'd die for, but there is another side to that coin. Too many of them can't play a simple groove. They don't seem to lock in with the drums and sit back on it like us oldies do. One of the drummers I play with tells me he dreads playing some numbers with these guys, because while they can play Jaco and Stanly Clarke with their eyes shut, they can struggle to play a simple shuffle. So guys like us can still be very effective players in our bands.

Yes. It's been a long time since function gigs meant Fly Me To The Moon, Begin The Beguine and Spanish Eyes. Thank God!!

I bought a Gibson EB0 for £95 in 1968. That's £1700 (at today's money) spent on a bass that sounded awful. Not a great move for a kid still at school!! If you're counting money not gained in a sale, I could have got another £6000 if I'd waited and sold both Wals today, instead of when I did!! Edit ~ making more sense. . . . !!