chris_b

EMG has some active pickups but other than those all others are passive, so will slot right in to your current wiring. Before you change anything you should, a) know what problem you're trying to solve, b ) have a good idea that what you are doing will solve that problem, and c) make the changes in such a way as to let you easily back them out if you discover you didn't fix the problem or caused a new one. Don't bother with solder, as previously posted, use connectors, then all you'll need is a screwdriver. Draw a diagram of which wire goes where on your current pickup so you can match them up on the new pickup. Leave plenty of wire to work with.

I believe the BB2 and SM are good together, but the message I get from Alex's website is that mixing the 10's and 12's is a match he wouldn't recommend. Email Alex and get the definitive opinion.

If the Barefaced Super Midget is still too big get a BF One10.

[quote name='richardjmorgan' timestamp='1497529887' post='3318892'] Recommend me an amp / loud stoner rock / as small and portable as possible. [/quote] I'd second the Aguilar TH500. Aren't you going to ask about cabs?

IME most brass players will have studied formally so they would have been brought up reading charts as the standard approach. Brass sections can be pretty fluid things with a lot of depping so in those cases charts are essential for ensemble playing. IME if they are required to learn their parts good players will, not so good players. . . well, you get what you get. None of the pro Soul bands I've been in used charts because they always rehearsed and learnt the set. We had a no chart rule in all of them. I've played with every thing from a 2 to 5 piece brass sections, what a wonderful sound.

He's probably had 50 versions of the horn part to play. Is it a problem?

If you're damaging the ends of your fingers you're hitting the strings too hard. Turn the volume up. . . a lot. . . and bring it back down by playing softer. EDIT: Just noticed you're talking about left hand. . . . same thing, really. Don't press so hard and, if you have a set up to lower your action it would help.

I'd suggest GHS Precision Flats. By the way, Louis Johnson recorded some of his early funky stuff with a Stingray and flats. Edit: If you want to sound like a bag of spanners in a washing machine then you'll need the thinnest rounds you can find, but "finger style" funk can easily be played on a bass with flats. As a lot of it was in the early days.

[quote name='joeystrange' timestamp='1497423422' post='3317935'] I'm after some advice from anyone who's been in this position before and can tell me how they've tackled learning this many songs. [/quote] They won't be playing 70 songs every gig and some songs on the records won't have been played since, so get a set list off them, or at least a list of songs they play regularly. Start with those and work around to the rest later. Have any of the songs changed since they were recorded? Work the songs out and write chord charts. Then play them until you don't need the charts any more. If you play along to the songs on the CD's put them on shuffle so you don't get used to playing them in the same order.

[quote name='steantval' timestamp='1497378981' post='3317716'] . . . . now joined at lot of the older great vocalists who are now shadows of their former selves. [/quote] I didn't see the show, but most people are a shadow of their former selves when they're getting on for mid 70's.

Do you have Hansen pickups installed? If so you could email Lakland and ask for a replacement.

A blue box or a black box. Choices, choices. With a doily and an ornament on top either would look just fine, but at half the size and sounding twice as good I'd still go for the AER.

I'd prefer to be playing an AER Bass Cube 1 combo they have for sale at Bass Direct.

. . . . or you could sell both TC cabs and get a better 212 which will cover all your volume and tone requirements in 1 cab.

I recently polished my basses with Dunlop 65. The first time in many years for most of them and the polished neck made playing and moving my left hand so much easier.

[quote name='Muzz' timestamp='1497091867' post='3315788'] I didn't like the Aggy Tonehammer. At all. There, I've said it... [/quote] You're listing some quality gear in your sig. Your Magellan and Walkabout are world class amps.

Just changing the 12 speaker may or may not do the job. If the new speaker isn't happy within the dimensions of the enclosure it might not sound as good as your current speaker. My guess is that it might not be a volume problem but you're pushing too much low end into these cabs. I'd try a high pass filter, like the SFX Thumpinator, to remove some of the very low frequencies that the Streamliner is undoubtedly trying to generate. That should stop the distortion, clean up your sound and improve your tone. It's a shame you're not using a TC RH* amp or another amp that goes to 2.67 ohms, then you could just add another RS112, to make 3 cabs. If you're pushing the 112 into distortion I'd also look at an RS210 or another RS212 to pair with your current 212.

[quote name='FuNkShUi' timestamp='1496823866' post='3314018']In my acoustic duo i play in, we were considering adding a backing track to fill the sound up [/quote] A friend does a 1 man show with backing tracks. He records his own tracks and runs everything from a lap top into the PA. This is more than just "filling the sound up". Close your eyes and there is a band playing. Another friend who is a keyboard player has recently been recording tracks for him as well. I don't know what they use for this but both have Apples and use Logic when were recording band stuff.

Work out songs in sections, intro, verse, chorus, bridge etc. Start with the chords, then add the details.

My 2p. . . . . . I'd get a Jazz to compliment your P bass. IMO as the owner of 2 PJ's I find the P pickup dominates the tone to the point where the J doesn't add much. Nothing more than a good EQ section on the amp would do. Both my basses sound better with the J pickup switched off. I have a couple of cracking J basses I can use when that sound is required.

Your thumb should be the only part of you making contact with the back of the neck and you should release that when you move your hand to place your fingers over the next note. So playing a bass line should consist of a series of separate thumb placements and glossy/drag/sticky shouldn't come into it.

I've seen this twice, this year. Doesn't cause any trouble as I'm running Norton and it jumps in.