chris_b

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?

The song wasn't complete when Bill Withers went into the studio, so he sang the "I know's" until he could record that verse later. Afterwards everyone said keep it. It doesn't bother me when it's done right. Trouble is most singers make a mess of it. I know it's difficult when your toes are curling, but blame the singer not the song.

Every band plays differently and it doesn't matter to me if I'm playing someone else's lines or my own. I'll approach originals, covers and interpretations with the same care and attention.

Knowledge is always a good thing, but we don't have to be brilliant technicians to be good bass players. We just have to put the right notes in the right places and make them flow. Do that and you've already made the band better. The rest is the icing on the cake.

I do not consider myself a hobby player. When I'm asked to play a song, liking it or not is irrelevant. Playing it so the band leader can't tell the difference between me and the original is the main objective, closely followed by getting that second phone call. I play lots of music that I wouldn't listen to for fun, but I can still enjoy the process of playing it in a band. Making the music is the fun part.

My experience, not yours.

In my experience, better.

I have a Super Compact and a One10. For one cab gigs I always take the Super Compact. Move more air, get better tone.

I was once in a 4 piece band with 2 other bassists. They had switched to guitar.

Barefaced cabs will give you much improved dispersion. You'll clearly hear every note, even when the cab is at waist level. The rest of the band will hear you more clearly and your sound will be improved out in the room. Plus, good news about your hearing protection.

If your guitarists have gone bat-stinky poo crazy and you need to join in that game, the minimum I'd go for would be an 800 watt amp and a quality 212. Both (Genzler MG800 and Barefaced BT2) can currently be found at great prices in the BC Classifieds. You can easily stay ahead of your guitarists with that rig. More importantly, your band has started to play Russian Roulette with their, and your, hearing. The most urgent thing on your to-do list is to be measured up for ACS moulded earplugs. I'd suggest the 26dB ones.

Born Under A Bad Sign by Albert King. Spanish Moon by Little Feat. Sex Machine by James Brown. ps Sing A Simple Song by Sly and the Family Stone

Sad news. I last played there about 10 years ago. Always like it as a gig.

It's always nice when you play with good people, but you can't beat good players. In the past I have done many great gigs in bands run by total a-holes who were good musicians, but they were great gigs. As long as they're not cheating on the money, I'm not going to complain. These days I seem to be meeting and playing with good bands, musicians and people. There are not enough gigs, but even so I'm living in good times.

Poorly designed equipment is always a problem. Glad you've got that sorted out.

No basses, electric or upright, are ergonomically unsafe. If you are experiencing health issues when playing any bass it's your technique that is wrong, and needs to be corrected. Personal lessons would be the best way to ensure you develop an" ergonomically safe" technique.

Give me dark, warm and punchy every time. Just like the original Bartolini pickups and preamp I put in my Precision in the late 80's. Lovely sound.

Over the years I've had 2 sets of moulds. They recommend you make new impressions periodically because your ear shape can change over time. Both times at local Boots branches. The second time they refused to make the moulds because I had too much wax in one ear. I had to get that sorted then they went ahead. I still carry the old moulds as a backup.

ACS plugs, the only thing that's kept me gigging for the last 20 years. There is no hearing protection that is too expensive. The alternative is very scary.

Knower and Sam Wilkes are a tour de force. I saw then a few years ago at the Jazz Cafe and they were amazing. Well done @leroybasslines I'd get two bars into that and my brain would explode.

IMO dark is an emphasis on the lows and low-mids, with less top end and high-mids.

In my school band the trombone player (2 years older) worked in a music publishers. We used to get the charts for new Stax songs and they were in the set by the end of the week.

A few years back I DI'ed my TH500 into Logic. Not a valve in sight but a very "valve" sound, just the same.