Boodang

I have managed a solution to the 5 string conundrum... I string mine high C instead. But back to the OPs original question, for me tone wise it's a Jazz (I particularly like the pups wired in series) but as I hate bolt on necks with a passion it's a custom J with a set neck.

I think your example of a Martin guitar sums it up... for me I wouldn't use compression on my double bass but for my solid body bass guitar I do use it.

Is it just me or does the B string on a five sound like a different instrument to the rest of the bass? To my ears it doesn't have a focused tone.

Shame really because if it was a real TE it would weight half a ton and you'd have to invest in a back brace before taking it to a gig.

I agree, I think if you don't have a six pack you shouldn't be allowed to practice at home let alone play in public. Music should be rated on a 'six-pack-o-meter' scale which solely rates the collective gym input of the band. Of course for those musicians who just can't cut it in the gym, you could always issues buckets at gigs so you can vomit along to the sight of their jiggling performance.

There should be a rule book that says the Rollings Stones should have been made to retire a long time ago!

When you play, at what angle is your wrist? Playing with a straight wrist will at least stop any further damage. Resting your forearm on the bass body is usually the culprit for a bad wrist angle.

Yep, I'll also recommend the protection racket case. I used to have hard cases for all my basses but now I use these. And they're not expensive... around the 100 pounds.

I'm not a pro bassist but I do own a mixture of top end basses and some mass produced models... and yet one of my fav to play is my Squier VM Jazz. Admittedly it's had a pro setup, new pickups, electronics, bridge, nut and tuners!! But all in still costs way less than a standard Fender Jazz but I've got something to my specifications.

Talking of small combos, has anyone tried the new Trace Elliot ELF 1 x 10?

PS my very portable setup consists of a Mackie DLM12 and for when more volume is needed I also have the 12s sub. A very compact and flexible combination.

Haden and Metheny in perfect harmony, not a note wasted nor a note superfluous.

Do you need anything on the combo (eq, drive etc) to give you your sound? I get my finished sound from my pedalboard, send the di to the desk and the unbalanced to a small active pa speaker for onstage. If you're not using the combo to sculpt your sound it doesn't have to be a bass amp and pa speakers are cheap s/h. The one bass combo I have kept and still use occasionally is an SWR Baby Blue, albeit with new speaker units. You don't see them come up s/h very often unfortunately.

Ok, so not strictly a preamp and more a 3 channel, foot switchable, mixer, but something I find indispensable and is at the heart of my pedal board. Send and return levels on each channel help keep volumes in check and the ability to use effects in parallel is surprisingly useful. Tri mixer in situ.

A tri band compressor would definitely give you more control. The great thing about the Spectracomp is that it's cheap and you can use the app to take full control of all parameters. I have a setup where I use 2 Spectracomps, one at the start of the chain in tri band mode, and one at the end acting more as a hard limiter.

I used to play exclusively fretless. During this period I got recommended for a band, at the first rehearsal as soon as I started playing the band leader called a halt, went out to his car and came back with a fretted bass and said 'play this'! Fretless bass has a different note attack than a fretted and for some people/genres/tastes, it's just not what they want. So yeah, for some bands it just might not be what they want.

A few changes to the board... the Aguilar TLC is replaced by the Photon Death Ray and the MXR bass fuzz has been added after the Fwonkbeta. So that path on the board goes Photon, Octamizer, Fwonkbeta, Fuzz, all switchable using the Bright Onion pedal. The Supa Funk and Seamoon get a channel each on the tri mixer as they work best without compression, and the Grape Phaser, Flashback and Slo finish it off.

I now can't be bothered with the back ache that comes with standing for a whole gig, so instead I play sitting in a wheelie chair. In fairness if the audience want movement I do invite them to come up at any point and push me around the stage.

It seems a lot of parcel couriers have an issue with the length of a bass guitar..... except Parcel Force who seem to understand that parcels can be long and have no issue with it. And they're cheap. Use them all the time and they've been good.

Where on the string are you using the pick... near the bridge? In the same way as when I use fingers, I use a different point on the string according to what tone I need. For the most part, to get that fatter tone, I use the pick much further up, around the 19th fret.

Get your blues chops sorted with plenty of variations to the turnarounds as there are bound to be plenty of 12 bar going around. Also ii,v,i progression lines to back the improvisors and to break it up in case there's too much 12 bar going on.

I was in a jazz groove trio (no vocals) and we ended up doing only festivals... not Glastonbury size ones but small festivals up and down the country and sometimes Europe. In a small venue we wouldn't go down that well, unless it was a jazz club, but the same audience at a festival would love it. Mainly I think because you've got a variety of music so now they have time for you. So we put our energies into doing odd ball small festivals mostly in the summer. Quality gigs and a responsive audience, plus as you say, you get to enjoy the other bands.

Quality audience is my preference. An audience that's into what you're playing and reacts well will overcome many shortcomings of a venue or low pay.

Musicians care about things like instruments, the listening public however don't give a monkeys how music is produced and are only interested in the final result. Will the bass guitar survive? Well, if you can make music with it that people like then yeah.

That's a shame. And as you've experienced the resale on a custom is often not that good. I've never thought about resale value when I've bought a bass, the only considerations are, can I afford it and how much do I like playing it. I've been lucky with my customs though and they've always ended up as something special.