dclaassen

Good luck!

Somewhere around 1200 seems about right. I had an RD Artist in the ‘80’s…cracking bass, but check to see if the neck needs reset.

After Being lifelong 4 string player, I switched to 5 and find it almost universally better, mostly because you have easy access to 2 octaves. Amongst othings, that lets me play up the dusty end and still have good access to the “money notes”.

I believe I’d be okay in most situations, but would definitely keep it simple until I had an idea of what was going on….space is your friend on these kinds of adventures.

On the NE2, I start flat, then adjust as needed. This is assuming no FOH sound engineer.

Very few songs I can’t see any value in. I don’t like Autumn Leaves because it’s usually the first song called in every annoyingly mediocre jam session. One more supporting vote for Mustang Sally… it can be such a great groove

Never used a pedal. I have a clip-on for gigs and an old Peterson for setup.

Remembering the early ‘80’s and a local band who would drop acid before a gig. The results were always less than optimal.

Soda water with a slice of lime…party on!

I’d love to have one of those…

Love vintage amps…I’ll bet it sounds great…

I have not gigged enough with my basses to only bring one, and both my fretted basses are active. My solution in either my classic rock band or a jazz gig is to bring one fretted and the fretless.

“Could you use something other than a P Bass?”

You do have a great, tight sound. I checked beginning and ending tempos with a metronome then listened for variance….old school.

I think pre and post-digital musicians just have different views on this. Younger musicians are used to hearing music with metronomic rhythm. To me, it sounds mostly artificial. I'll bet any pre-digital recording varies tempo, at least a bit. And that is not a sign of bad musicianship. Classically trained musicians very tempo without intending to....it's a human thing.

First of all..nice job! This is not my normal type of stuff, but you do it really well, and I enjoyed all the tracks.... Just my guess.... Lilly and the Killers is at 152 all the way...drummer slows just a bit on the bridge, but it stays right there....click track RRVM--145 all the way...click track Trance--181ish...probably not a track Spider Queen (great song, btw) is 149 so...click track Planet....145...click track Blitz...no click track How did I do?

Challenge accepted....post some examples and find out if we can tell. In my Master's Degree program, we had a Physics of Sound course taught by a member of the Physics department. He held up two tuning forks (remember those?) ...one at 440 and the other at 442 and stated that "no one can hear the difference between them"....almost all the trained musicians could. "Good musicians" can hold the beat steady enough to make great music. (they also practice with a metronome, but don't play with one). BTW, recording is a whole different thing.....

I personally don't like idea of playing to a metronomic click. Musicians practice to a metronome all the time, but that, IMO, serves a much different purpose than group performance. I really find it hard to listen to a lot of computer-enhanced music, because the beat is so lifeless. Live music is meant to flex with the emotional feedback you get from both it and the audience. I was watching a live Skynard performance the other day, imagining how awful that music would sound if played strictly with a click track. To me, the final evolution of this trend would be no live musicians, just set your laptop up on the stage....it'll be perfect every time.

78-88 for me…great rock, jazz fusion, country/southern rock…I was playing a lot of gigs….good times

Nice tone!

Great discussion! Application has a lot to do with your selection of instruments. If you are recording, or playing a lot of gigs where FOH is being professionally mixed, then a P bass is a great tool. Sound engineers know what to do with it, and so will usually give you a great sound in the mix. However, if you are playing in a band where the sound is "mixed" onstage by one of the guitar players, and you are in a wide range of venues, then I think a J bass or some kind of active bass is better, because you can shape the sound on the fly. I've gone to using active basses almost exclusively (except for the fretless). If I ever got into a situation like the first one above, I'd most likely buy a passive P bass, depending on the needs of the sound guy.

I also had one of the Music Man HD150…best amp ever and I was a fool to sell it on….

Yup….just come on the downbeat….

So, it might be an easier list to make of composers/performers who are NOT "problematic"..... At the end of the day, if you are only pushing your own narrow agenda to the extreme.."I won't play such and thus because he's a dirty conservative yob".....maybe you are not really as open-minded as you might aspire to be...... "He kicked a turtle when he was 2 years old"........also probably not that important.....