chris_b

. . . and timing. The best players have perfect timing, 100% of the time.

My wife has 12 dolls houses of varying sizes dotted around the house. I have no problem with them and she doesn’t mention my 5 basses, 4 amps and 5 cabs and assorted bags and boxes.

That's not a Fender logo. My guess is it's a replacement neck.

I find gear that works for me and I keep it, but nothing is permanent. There is no sentimentality here, if I find something better then I'll upgrade.

If you're not "100% on board" with the sound of your amp, why still own it? Replace the amp before you think about buying anything else.

If you type in a search for top London session bass players, you won't recognise most of the names, but Ian King, Phil Mulford, Steve Pearce, Julian Crampton should be somewhere on the list. Also have a look for Overwater endorses.

Just imagine what North Korea, Putin or Trump could do with a weaponized AI. For every good use there will be 100 bad uses. There is no good outcome here.

It's no surprise that the Overwater sounds that good.

I have 2 One10's and a third is my backup plan, if I need to go lighter than my SC/SM.

Everyone is talking like AI is a pile of crap. These are baby steps. You're going to eat your words in 20 years.

Imagine the difference between the Montgolfier brothers and NASA. Give AI time and it will sort out the wrinkles. What it is now is nothing like what it could/will become.

It was all my fault. I discovered pretty quickly that I couldn't play it!! I wasn't accurate enough and my pitch went out the window. I couldn't put the frets back in, and couldn't afford another bass, so I was stuck. The band just laughed but I didn't!! About 10 years ago I bought a lined Rob Allen MB2. . . . a fabulous bass, but I still sucked! I admire those who can make fretless work, but I need frets.

I de-fretted my Framus bass when I was in my school band. I have no idea what I was trying to achieve. That was the most stupid bass related thing I have done so far.

I never liked playing open strings, so for me switching to a 5 string bass made playing easier. Later I worked out that the B string meant I could move my hand less. I prefer to have the same geography under my fingers so I don't switch basses. I haven't played 4 string since the 90's. Several myths that are just silly: 5 string basses weigh more (my lightest 5 weighs 3kg/6lbs 6oz), there are 4 and 5 string songs (of course there aren't), muting the 5th string is an issue (we all learnt how to mute 4 strings when we started, how is 1 more a problem?), a 5 string is only about 5 lower notes (not true) and Jaco only needed 4 (there are photos of him playing a 5 string bass). It's all about choice. A 5er is about added flexibility, playing in different positions and increasing your note choices.

Just listened to the soundtrack. It's all pretty straightforward. Any competent player should nail this. I'm surprised they are still looking. I'd love to do it, but my reading isn't up to this level and I fail (by many decades) the age requirement!!

Ek is eating steak while the people whose talent has made him obscenely rich are thrown a few scraps. The American dream in a nutshell.

My 5 string basses are all standard BEADG. I don't see any advantage in changing the tuning around. As a 5 string player of 29 years, welcome to the fun zone. Be careful not to overthink things, you're starting with the same 4 strings you're familiar with. Just incorporate notes on the B string when you're ready. Always ask. We're happy to answer.

No one touches my gear or puts anything away. If I pack it up then nothing gets lost or left behind.

I have an important role. I'm there to make everyone else look good.

10 years ago I put TI flats on my Mike Lull PJ5 and it came alive. Those strings are still on and sounding better than ever. Encouraged by this success I put flats on my Sadowsky Jazz bass. . . . and killed the tone. It turned into a dull and toneless waste of space. I put NYXL's back on and restored the magic. I also have a Cort Jazz bass which was improved by the addition of GHS flats.

The result of never saying no to a gig. One or two bands that were working as much would be fine, but somehow I have become involved with more than my fair share of "occasional" bands.

I do the scaled down version. . . . Paddle Boat rock.

Hi Dave, I started the year in 4 bands but 3 have fallen by the wayside!! Due to some ill health in those bands, most of this years gigs were deps. I have several regular dep gigs which keep the diary ticking over, but a few were one-offs. I also had a few side projects from guys I play with so I'm kind of familiar with the people and the style. You could say gigging is my work, but learning the sets is my hobby. If I have time, I run through the sets until I know them, but if I'm in a hurry I just write charts. I like the variety.

In the last 20 years I've been fired because the band leader wanted his mate in, because the drummer wanted his mate in and because I wanted to put a dep in and the band leader had a childish strop!! You can be the best player/person in the world, there is no guarantee you're in the band from one week to the next. But in my experience, in the majority of bands, things are not that cut throat. All the 18 bands and projects I played with in 2024 are happy bands and the players who leave do so of their own free will, rather than being fired. In my world many players are in multiple bands, most bands are cool with that and most players seem to be in long term relationships with their bands. All positive things.

Any cab I use for extra loud, "heavy" gigs will have multiple drivers. As I favour Barefaced 12" drivers my choice would probably be a BB3. Blow the guitarists clean off the stage.