chris_b

You've got agreement in the band and a better player on the bench. What's keeping you?

If an audience doesn't turn up you have to ask why. Maybe it's a crap venue. Maybe it's the economy. Maybe it's the competition. Maybe the band isn't very good. The truth can hurt but you have to know why before you can do anything about it. What ever the reason only the band can make it change. Original music might be very worthy but is it interesting to an audience? You can't slag off more popular music. There's nothing special about new or original music. It takes it's chance and as the gigging world is a meritocracy you can't complain if you're not wanted. Playing to empty rooms usually means the audience isn't bothered about what you're offering and if even you're mates don't turn up you've got to start recognising that change is needed.

[quote name='blue' timestamp='1473009834' post='3126019'] But remember the impact of The Beatles was a lot bigger in the US than in the UK. [/quote] The impact in the UK was seismic. Nothing was the same after 1963.

I'd just play along with songs. Start with the medium tempos first and build up. Don't move on until you've mastered what you're trying to play. 16th's? I haven't played any of those in years. Figure out something better and less frantic to play. I learnt with 2 fingers but play with 1 finger more and more these days. Another thing I've noticed, my style is changing. I used to be a lot busier. As I get older I'm playing fewer notes.

Reggae isn't complicated, but if you want to do it properly then you have to put a different head on. Play with a Jamaican drummer and your perception of groove changes dramatically. The beat is on its head but when you've worked out what's happening it makes complete sense. The best Reggae bass lines are Intelligent, fat, solid, relentless and totally locked with the drummer. I did a Reggae gig as a dep last night with a Jamaican drummer taking care of business. We were a trio, playing mostly original songs, and we had the whole place dancing all night. Reggae is happy, good time music. I love these gigs when I do them, which isn't often enough.

Now put some flats on it, and make it sound even better.

I think you need to explain that post.

If anyone is dragging the band down they have to go. It's the only way the band will survive. Is it worth saving? The axe has to fall.

BB, good move.

Send it back to Paul Herman? I took mine to Charlie Chandler and he immediately passed it to Paul. The easier answer is. . . . stop digging in!

From 62 to 74 and Stax and Atlantic was my real Golden Age. But every year has great bass playing and the last 20 years contains some of the best bass playing yet.

The best stand for a combo is an extension cab.

I think you can get a better sound by buying a Sadowsky outboard preamp. Probably cost less as well.

[quote name='alyctes' timestamp='1472772718' post='3124230'] if I want that sound, what;s the best way to do it? [/quote] Sit in a darkened room until you feel normal again?

[quote name='TheGreek' timestamp='1472749480' post='3123921'] The only Jazz I've ever owned that I got on with was a Overwater custom - [/quote] The Overwater J's sound very, very good but they all seem to be on the heavy side (around 10lbs to 12lbs on their website) so, sadly, I'll never own one.

The F1 was my least favourite amp of the last 20 years. I didn't like the tone at any volume. I got what the OP is describing with Bergs and Aguilar GS112's. I'd checkout the amp. Can you try the cab with a different amp?

For me the BB2 has too much low end. I had one and sold it. I replaced it with 2 SC's and they are just right. With a synth I'd imagine that you could use a cab that will reproduce higher frequencies? Maybe put a Super Midget on top of one of your SC's.

[quote name='civilian_project' timestamp='1472681813' post='3123336'] who does everybody believe makes the best jazz bass? I'm talking£1000-£2000 Mark New or used. [/quote] I would suggest any Mike Lull or Lakland and always buy used. My experience of these basses is very positive but I couldn't decide which is best, or if are they better than other basses in this class of instrument. At this price point you're looking at different flavours of great and personal preference would be the only deciding factor. "The jazz debate"? For me there isn't much to discuss. Since 2003 my main bass has been an active US Lakland 55-94 and it's been joined, for the last 4 years, by a passive Lull PJ5. I've bought a couple of other basses in that time (Fender Jazz and Rob Allen) and while they are good they've never made it out to more than a handful of gigs because of the competition. I've been checking out Sadowsky Jazz basses lately but it is more than likely that my next bass (if there ever is another) will be a Lull or Lakland.

I swapped the bass and guitar over in the interval on one gig. I was in the corner and it sounded terrible. The guitarist was fine, which was fortunate. I came back to that gig a couple of years later and went into the corner again. This time the sound was fine. The difference. . . . Bergantino cabs. They seem to attenuate the bass response and always worked well on difficult or boomy stages.

[quote name='obbm' timestamp='1472640028' post='3122795'] Is anyone bringing a 5-string Sadowsky, NYC or Metro? I have a yearning to try one. [/quote] I'll be second in the queue.

In the pro world image is everything in many genres. I know a bass player who was fired because the new manager thought he was too ugly and a guitarist who was fired because he was "too fat". The bass player had character and the guitarist did wobble a bit in the solo's. Both were fantastic players but they failed the physical. It has been like this since forever.

All I'd say is, don't bother about "collections". One great bass will cost the same as several good basses, but will play and sound much, much better. For me it would be a toss up between a P bass, a Jazz bass and a Lakland. I'd try Fenders but I'd also be looking at all the other makes on the market and I'd be tracking the BC classifieds, because you'll get a much better deal on a better bass. Don't worry about small hands/big necks. If your technique is good then you don't have to worry about this. I would definitely check out 5 string basses and I'd leave fretless for another day.

I'm in the house band for a jam, so I hear my rig from out in the room every time. It does help to affirm (or not) my gear buying choices. Also I've seen cheap basses sound better than expensive basses, very good but busy players overplaying and not sounding as good as average simple players, and I'm always surprised how many players come to a jam and actually don't listen to what's going on around them. But the bass gear always sounds good.