chris_b

I don't know what drummers want in a bass player, but what I like to see is a good feel, good timing and a great sound. I guess drummers would vote for at least 2 of those, maybe all 3.

Sounds like you just need to replace the pickup. I put a Bartolini pickup in my P bass and the sound took off. Then there's Nordstrand or Geezer EMG's.

Do you include Jam nights? I've been in the house band for one of those for the last 20 years. The first Monday of the month. Nothing wrong with a residency. We had a troupe of drummers one night and a Didgeridoo player came for a couple of months. They were fine. The only down side is when someone turns up who doesn't know how to play the instrument or can't play with other musicians. Other than that it's all good fun.

My 68 Precision wasn't really vintage when I modded it in 1988. Now it really is vintage and has minimal resale value because of the idiot owner it had at the time. That's why my advice now is always buy the bass that sounds like you want it to sound and don't mod a bass, because it might not end up sounding like you want!

Explain the mindset of a guitarist? No, I haven't got the time!! Most of the guitarists I play with use Fender valve combos and a Strat. A couple also have a Gibson. I can't remember anyone using anything else. If they get rid of an amp, it's replaced by another Fender valve combo. I played with a guitarist a couple of years ago who didn't use any pedals. That was a first! All the others have anything between 2 and 10 pedals.

Are you suggesting you refret the neck yourself? Unless you are a luthier, I'd say that would not be a good move. Are you going to get someone else to refret it for you? That'll be very expensive and pretty much a wast of money when you consider that a replacement neck would be cheaper and you won't have trashed the resale value of your vintage bass. You say you won't ever sell this bass, but what would you do if you refret it and it doesn't sound or play how you want?

I have never played in a "proper" tribute band, but I certainly would if asked. Having said that one of my current bands sometimes goes out under the working title of a "Tribute to Chess records". That's a bit of marketing, as not all of the numbers were recorded on Chess records! We usually go down well, so I don't think anyone in the audience really cares whether that claim is 100% accurate or not. I know several guys who are in tribute bands and it's just another opportunity to gig for most of them. The only rules that would apply for me; the musicians have to be good and enjoyable to play with. All the answers are IMO. . . . Do you have to be a fan of the original artist, or maybe you become one? No. You just have to enjoy playing with the band. How important is it to be visually/musically identical? How much latitude are you allowed? There are 2 kinds of tribute bands; one plays the music and one also puts on a theatrical performance. My preference would be for the former. Do you ‘get into character’ or is it just a gig? For me, it would just be a gig. I know guys who get into character, but it's just a gig to them too. Does it feel musically limiting, or is it fulfilling your needs? (Maybe you have a side band?) I wouldn't find playing a night of only one artist/band limiting. If you're doing it right, all music should be "fulfilling". Do you have any qualms about tributes ‘stifling original music’? I don't understand the question. The two are not linked. Have you ever met or been seen by a member of the ‘originals’? What did they say? I have not. If I did I would hope the original guy would be happy that I did a good job on his songs. What (would) the overriding thing being in a tribute act (have) taught you? They are just another band and just another song. Having done it once, would you do it again? If so, would the musical angle be very different? I wouldn't turn a gig down just because it was a tribute band. After initially being snobbish I have seen some great tributes, my favourites being ELO Experience (featuring @casapete), Limehouse Lizzy and Purple Zeppelin. I wouldn't go out of my way to see a tribute band, but I've seen the Beatles band at the Cavern, Fleetwood Mac and Blues Brothers tributes at Wimbledon Theater and The Straits, basically Dire Straits without Knopfler, at the Albert Hall. All good bands, doing a good job.

Many box shifters raise an order with the distributor to ship directly to you, so they never see the instrument. I agree, it's a factory set up issue, but the shop is the first line of responsibility for any issues, like badly cut nut.

In the early 70's I was in a band that played the same venue every Friday, Saturday and Sunday for about 8 months, playing Soul, R&B and current top 40 hits. I loved it. So did the audience! In the 80's I did a weekly Sunday lunchtime at a pub in Camden. Then switched to the Friday night slot. That was for about 2 years each. We were a high energy Chuck Berry, Dave Edmonds boogie band. That band morphed into a Chicago blues band which played every Tuesday at a West Kensington blues venue. Residencies are great. Play interesting songs with enough energy and humour and the audience won't notice that the set is the same as last week. The only cons to playing one gig a month is it's not 2 gigs a month!

Sadly I had to leave after a couple of hours, for a late afternoon gig. I managed to catch up with a few and I missed chatting to so many. Ian King. . . . showing me where I should be, instead of where I am!!

Groove, swing and rock. Timing isn't on my list, because if he doesn't have he's not in the band in the first place.

You can play anything on any bass. If you're after good 5 string basses also have a look at the German made Sadowsky Metrolines. These are excellent. Bassdirect has a couple in their pre-owned and ex-demo section.

I always get the chord. I can't lose them that way.

I use PRO17's for regular bands and PRO26's for my very loud band. I have no problems communicating on stage and no trouble hearing what I need to hear. Without ACS I would be either totally deaf or not playing. If you feel "disconnected" deal with it. That's what you'll end up with 24/7 if you don't use effective hearing protection.

Yes. . . Sorry about that. It was Ready Steady Go.

I remember watching that program. I believe Dusty was responsible for talking the BBC into putting on that special.

Could you run a marathon without months of training? How does anyone play fast? They start gently and slowly, then build up speed and duration. You'll get there if you give yourself enough time and focus.

IMO gigs and studio are totally different environments and require different solutions. 500 watts every time for gigs, but I wouldn't bother with an amp at all for studio work. I'd DI the bass. I'd still DI the bass through your studio if I was practicing at home. If you really have to have an amp my list would include an Aguilar and Mesa Boogie. I'd probably get a Barefaced One10.

Reggie McBride, was with Stevie Wonder before Nate Watts. I first noticed him in the early days of Keb Mo's recording Career. Fantastic bass player. Apart from THAT solo, Willie Weeks has flown under the radar for a long time. Another fantastic player.

Who does things right? In my experience, Barefaced, Mike Lull, Bergantino, Mono, Harvest, OBBM Cables, Roqsolid, Mesa Boogie, Volvo to name a few. All make excellent products that excel at the tasks they were designed and made for.

What basses have given you this issue?

If you have the same issue with the G on multiple sets of strings I'd say you had a problem with the bass, pickup or electrics.

Way too small enclosure for full, deep, warm bass at any sensible gig volume level.

The difference has always been between writing the song, arranging the song and playing on the song. Arrangers get paid per arrangement and writers get their deals, sometimes flat fees and sometimes percentages and session players get their rate. Apparently A list players in the US got 2 times the rate. The problem writers are now seeing in the US, is publishing companies have opened up a lucrative revenue stream by suing writers of hit songs for using parts of arrangements, chord structures, rhythms etc. Up to now these have never been deemed "original" and have never been protected by copyright. The US jury system is being use to change these "rules" and start awarding co-writing credits and spurious royalties where they were never awarded before. These publishers have discovered a new way to make millions. A few years ago, the US session players were given a chance to get a slice of the royalties if they could prove they played on a record. An extra pension payment that came too late for many of them.

I play on several stages where the boom can only be heard by me, not even the rest of the band! I try and pack the corner with cases and bags. Helps a little but only a little. I'm happy to do the gig if I know I'm the only one who can hear it.