chris_b

I get that, but am I to assume that the HPF is working? How do I tell if I can't hear or see any changes?

The obvious benefits of an HPF have interested me for awhile. A few years ago I borrowed a Thumpinator and used it with an Aguilar TH500 through 2 Berg AE112's. I noticed very little difference with and without. I didn't see any change in the movement of the cones. At the moment I'm running a Berg Forte HP through a Super Compact and sometimes with a Super Midget as well, and I still don't hear the HPF making much of a difference. The point where I can hear the HPF working it's changing the tone in a very unpleasant way, making it thin and nasty. Is the HPF doing its job when I can't hear it? How do I know if it's doing anything useful not?

An originals band performs songs the band has written. When those songs and parts were written and who by isn't relevant. If a band member leaves the songs aren't re-written when the new guy joins.

What does yours weigh? I heard they were coming heavier than the initial projections.

I put some Barts on my 4 string Fender Precision. They were a significant improvement on the original pickups. I had the Bartolini option on my Lakland 55-94D. Great tone. For many years Barts were the standard equipment for most boutique basses. They have more competition these days, but I haven't heard a bad set of Bart pickups yet.

Was there a house band? do you remember who they were?

I know some fantastic drummers who are very loud, but these guys can also play quietly, and everywhere in between, depending on what's required. Everyone playing very loud because they are trying to volume match the drummer is not the right way of playing. My experience with drummers has always been good, guitarists on the other hand have cause most of the volume problems I've seen. I've just done 5 gigs in a row with a dep drummer. On one gig he was hassled by the sound guy to play quieter. After that I couldn't hear him, so he played in between. Me and the sound guy were happy, because the drummer could adjust his volume and get the balance right. It's not rocket science and is a skill that every drummer should be expected to know.

That was exactly the design brief for the Jazz bass.

All drummers can choose how hard they hit the drums, though many don't. The guys who can't alter their volume when they play are just very poor drummers.

You need a long extension cable, to stretch around the corner to a socket that's not on the sound metering system.

What a waste of the time it took to read 4 pages !!

I upgraded my Precision once. The new pickup sounded fantastic, so I did it again and added a J pickup and preamp. Second upgrade was a complete waste of money. Never again. I now buy basses that already sound like I want.

These are not good enough. Get the ACS PRO 20 or 26 moulded plugs. Mine have the clip and chord connecting them. I Seriously they are probably the best you can buy. https://acscustom.com/uk/products/hearing-protection/pro-series Some of the larger Boots stores have audiology departments, usually in with the opticians. They will make the moulds and ACS will send you the plugs.

You think Adam's got problems. . . .

. . . . and I hang mine around my neck.

The truth is always preferable, no matter how difficult it is to hear.

Yet another double post!!!

What did he say about the problem? Did he have any answers or suggestions?

Who knows what the audience hears, but if they want to tell me they like it, I'll be smiling sweetly and saying, "Thank you, very much".

Strings are a critical part of most players sound. I've told this story before: @Happy Jack was interested in a Mike Lull P5 and asked to check out my Mike Lull PJ5. He liked it and bought the P5. I went back to have a listen and . . . . his bass sounded better than mine!! The sound had an extra level of fullness and authority in each note which was missing in mine. After several weeks of head scratching and homework I realised the difference was in the strings. Ever the entrepreneur, Jack promptly sold me a set of Lakland flatwound strings (rebadged GHS). Hey presto. There was that sound! After a few years I put TI flats on and they'll stay there as long as I'm playing this bass.

It's not a problem if the audience doesn't notice or appreciate what I do, my job is to make the band want me. I get all my gigs by word of mouth, so every note, every space is important. There are always better players around, you can't escape that, you just have to try and bring something extra to the table. The time I put into it is for the band, the money I spend is for me.

Depends why you want to become a 5 string player. If you're giving up on a 5 string bass because it doesn't feel "normal" then you haven't given it enough time or effort. If you are a 4 string player, a 4 string bass will feel "normal" and the 5 won't. What you have to do (if you are serious) is to put your 4 string basses away and play the 5 until it becomes your new normal. then you can play either with no problem.

I am biased, because I don't think you have a problem. You have spaces in your music? Great, IMO that's a good thing. One guitarist is also good. Even in Rock, I hate the "filled up" sound of 2 guitarists pounding power chords at each other!! Embrace the spaces. Filling up the sound with over playing won't sound good (will loose the groove) and hitting a pedal every time there is solo will sound "amateurish" after awhile. If you have locked in with the drummer it doesn't matter what other instruments are playing or if they have stopped. The song carries on riding on the groove that you and the drummer are laying down.

I'm older than you, and agree with you. No joke. . . . I actually do have 2 laundry baskets.

Most are, and probably should be. IMO you need an ego to stand up in front of a crowd of strangers and perform. You need to believe that what you are doing is good enough to interest them. It's the toxic ego, the ego maniacs, selfish and self centred Richard-heads always spoil a band. These guys rarely change so in the end it always comes down to a choice. One of you has to go.