Boodang

Acrylic drum set is cool!

Jaco wasn't in a good place mentally when this video was put together and I think Jerry and friends did it to highlight his talent. It's a shame it's not a full on structured tutorial 'method' style book/video though but given the circumstances at least we have this to look back on. Two years later he was dead, a really sad story. Anyway, if you haven't seen it, a really good documentary with some great interviews with Zawinul and others who played or knew Jaco is; Jaco Pastorius "The Lost Tapes Documentary" (on youtube).

Eq is what you need. Basically you're going from a more mid emphasis finger tone to a scooped mid slap tone. There are various ways to go about this, a pre amp with two channels of eq, a pedal with eq presets like the source audio eq2, or keep it simple and have the creation audio funkulator which has one knob to scoop the mids, just kick in when you need it.

I'm a pedal board guy, my current setup has 14 pedals on it (soon to be more!). I've been down the multi-effects pedal route (and I still check out the latest offerings) but the reason it's not for me is the interface, I like knobs and hate screens. Also, with few exceptions (mostly synth sounds I'd say, so not bothered), my pedals sound better and I have some analogue pedals which digital versions in a multi can't really replicate. I think the nearest I came recently is the TC Plethora as the interface is ok, but I'd still have to integrate it with my analogue pedals. And then there's the biggest reason for having pedals... the artwork on them is better!

Have had success with parcelforce. No hassles with the length of the case (for some couriers it's too long). Even managed a delivery to a remote part of Scotland with no problems. Worse ever was Hermes, now called Evri I believe. It's still the same company and if the name is the only thing that's changed I wouldn't touch them with a hazmat suit on.

On the basis that the pups on a ric and a jazz are in different places, would be good to combine them into a 4 pickup bass.

I can't comment on the Maui, although it does look a good solution for small venues. We did however buy the LD Icoa 15a speakers and they've been great, so a thumbs up for LD with our limited experience of them. Did a small outdoor gig (around 150 people) and the Icoa handled the FoH duties no worries. Was particularly impressed with the reproduction of the kick which sounded like it was coming out of a bin rather than just a ported cab.

I have to say it seems almost a random way to achieve your sound! After all, every active eq will have different Qs, peak frequencies etc. Having said that, if the ears say yes then who cares!

You're going to have to help us out here.... 'mellowship'?

You've put your drummer in a cage!

... and no amount of arrangement can fix pedals that need improving!

I have a thing for sunburst and tortoiseshell pick guards, so want to do the same to mine. Got as far as the tone control plate! Went with the vol/tone, vol/tone with a parallel/series switch from Starr guitars in the USA. Got held up by customs as it was labelled 'tortoiseshell' and they wanted to confirm it wasn't the real thing!

I control all my effects pedals through the EHX tri mixer. 3 parallel channels each with input and output gain. That way I can keep the gain structure and thus volume, under control. Some of my pedals are sensitive but with the mixer I can make sure the signals are not too hot for them, and then I can set the return gain to where I need it so no jumps or dips in volume when I kick them in.

Love my Squier VM jazz fretless, one of the best basses I’ve ever owned. Upgraded pups, preamp (still passive) and nut, don’t care what the resell value is as will never sell. Plays a treat. With the resin fingerboard and flats, everyone who plays it loves it.

A park bench in DC. Quite surreal!

Passive pups aren't going to have much response above 6k, so I cut everything above that just to keep noise to a minimum,and boost 3.6k for harmonics.

I totally agree, it should be bass & motorcycles analogies.

http://www.audereengineering.com/index.htm If you're going for a preamp, I can thoroughly recommend these.

Radical alternative... take up drumming. You spend the whole gig sitting down and it's way easier than playing bass, in fact I don't know what all the fuss is about when it comes to drums. Only downside, way more gear.

These days I either play sitting down, bar stool with a back so I'm not too low and hunched over, or I just use an EUB, again sitting on a bar stool so I don't expend too much energy. I'm contemplating a chaise lounge for those laid back jazz gigs!

Try to get as close to the sound you want at source, ie the pickups. Preamps can only work with what they're given.

Jazz, but a custom made one so it's not sh!t. Also, add a series/parallel switch.

So I'm going to come out and say this.... most of the tone comes from the pickup. My fav P pickup from Creamery. https://www.creamery-pickups.co.uk/custom-handwound-pickups-from-the-creamery/scatterwound-bass-pickups.html Plenty of others to choose from on the market but I would get the bass that feels right then slap one of these in.

I was doing a gig recently at a club we quite often play at. The manager was walking past the side of the stage and stopped to have a conversation with me half way through a song. I continued playing fine and talked to him at the same time without missing a note. It made me realise this is how not to be nervous at a gig, rehearse, rehearse, rehearse until you can do it in your sleep, or at least play while having a conversation. That way you're not thinking, oh g*d the next bit of the song is coming up and what do I do / this is always the bit where 'x' screws up! If the whole band have total confidence it what you're playing you can concentrate on having a fab time. Of course if you're under rehearsed then it's time to poo your pants!

I started playing bass on a fretless (it was the coolest looking bass in the shop!) and didn't pickup a fretted bass until 20 years later. I find a fretless much more expressive and actually struggle with a fretted. As has been said, work on getting accurate fingering but also make that fluid when playing phrases so you save the fretless expressiveness for when it's needed ie. not all the time! Also, don't forget the plucking hand.... I play mostly over the 15th - 17th 'fretless' area. Moving the plucking fingers around makes a big difference in tone and affects how I play. There's more 'bloom' to the notes when you play in this area, so it definitely slows you down.