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  1. Thats a mans bass rig that is. Proper mans bass rig. Does he near the beginning, turn round to have a cheeky turn it up one notch. Y'know....just make sure he's in the mix...
  2. Warning...Bass wombling...........So this is me being extra a couple of years ago in a pub on a Sunday afternoon using said pedal. I still have it and its still the one thing that comes with me to every gig and is always switched on. This clip is the slap thing obviously but it demonstrates IMO that slap sound thing with a jazz, on an actual gig rather than from the safety of a living room /studio/rehearsal room. Its not a one trick pony either. Its also a nice touch for any fingers setting be it a Jaco-esc back pick up or turn up the bass for a really good motown vibe or whatever. Still loving it 4-5 years on. Still recommend it. Never gig without it. Still worth every penny.
  3. He was such a great player.😥
  4. Post gig or rehearsal I never go to bed until I feel I'm ready to switch off. I know I wont sleep so I don't fight it. I don't worry about getting a few hours less and just give in to it. I probably sleep more soundly as a result albeit less hours. This is based on a no stress or "meh" gig/rehearsal. Will watch tv or play xbox and have a beer. If somethings playing on my mind though, and that could be anything from a music thing to day to day life then most likely that will keep me up regardless. No helpful advise on how to solve that but maybe it helps that its not just you.
  5. Might just be the characteristics of that particular bass and changing pick ups may never solve it. If the Lakland works perfectly using the same amp....... I've had high end basses in the past that didn't cut it some areas but excelled in others. If it helps: (My 2p worth BTW. ) If the action is not so low its choking the notes... I would angle the pickups to the point the E side are almost in the bass and the G is really high like almost touching the G string and see if the difference is a massive one, as in the G is now way too loud. If yes then fiddle about with the PU heights till you get a happy compromise or even better find that spot when the balance is good for you. You may even find that visually it looks just wrong but it works. The PUs on my jazz bass are at a very sharp angle towards the G but all is well when in use with no unwanted side effects or lack of punch enough volume ect. I'm no PU or bass guitar guru and maybe this is not the right way to do things but the problem you describe is exactly what I had ( on my Fender Jazz) and this is how I fixed it. I made micro adjustments along the way too till I reached what works perfectly for me. Over time I've become comfortable with it like this. As in how my thumb rests on the tiny amount of PU sticking out of the bass on the E side when playing finger style. I've rejected other new basses since because of the fact I'm unable to adjust the PU heights to the same extremes as they also have the same balance issues when popping the D and G. I've changed the PUs in one high end bass that still sounded weak regardless too so I think some basses just wont, for whatever reason, work well in a live/band setting when slapping and popping.
  6. Rules can be made up as you go along to keep the peace. Generally speaking though : (IMO) If you are getting transport via another band member because you don't drive yourself: If they will be collecting and delivering you back again like a free taxis service then show as much appreciation and repeat your thanks each and every time. By all means have a beer or two but dont take the fosters by getting whizzed up because you dont have to drive. Its insulting to the driver. If its a £10.00 worth of fuel trip, then pay the full amount. In fact pay more. Make it £15.00. You will go from bwestest frwends ever to that pain in the derrière from here on so make it as painless as possible. (Unless you are a singer with no PA, fold back, mic, mic stand or transport in which case do as you please. Or even if you do have these things, expect free transportation at all times that suit you. This is after all, your birth right). You may have the most valid reasons in the world for not having a vehicle or even being able to drive at all but showing that you appreciate the lift is a very welcome thing. Even if someone says its ok just pay half the fuel, insist on paying the lot and shove the money into any orifice you can find if they resist. If its a case of sharing cars because of distance and you can take it in turns then 50/50.
  7. From someone who has struggled in the past to get a tone I like, this clip from Scott would have been just what I needed many years ago. I think once an understanding of what he is saying here has been reached by the client through practicing what he is saying, the client can then move forward in any direction they find appealing. Scott is helping eq dimwits like me get on with playing rather than getting depressed about having a stinky poo sound that isnt getting solved with more bells and whistles. He cant win over everyone all the time and is damned if he does and damned if he doesn't. I think a read between the lines kinda thing is needed here. If you already know your stuff about eq then yeah just "meh" to it but if not this is, IMO, very valuable stuff and.......its free!
  8. My recurring nightmare.... " Can you make me a specific bass that will be as I describe it?" Yes. Thats £500.00 deposit and you can pay the other £2000.00 when its done. "How long will that be?" Oh about 3-5 months. 6 tops. "Here is my money." 14 months later......£2000.00 lighter. "This bass is rubbish." It exactly as you said you wanted it. Maybe you need another one but this time we make it out of a different wood. "Are you sure? You are? Ok then. Can you do it?" Yes. That will be £500.00 deposit. Repeat repeat repeat repeat repeat repeat. Surely I cant be that stupid can I? Yes actually I can. Good job I woke up and stopped.😬
  9. Not a solution but sharing personal experience with the Musicman 5. I had the same bass many years ago and at the time had the same opinion that the B string was floppy and muddy. It could (the B string) sound good/okish if I played with a very light touch, sounded great recorded and maybe a low C had better focus than a low Eb. But the whole thing for me (with the Musicman 5) was a constant compromise. It excelled in some areas but was weak in others. But then most basses you could argue that point but a lot of the time it felt like with the MM5 the wind had to blowing in the right direction for me to be happy with it. I tried 130 and 125 gauge but same old compromise. One sounded better but wouldn't intonate as well as the other. I cant remember which way round it was but I do remember experimenting with gauges. Having just said all that, my experience gained since then regarding everything from Amps, using EQ to playing in general has changed a lot since then so maybe I'd have a different opinion today on the same bass. But I do remember thinking if only it could sound as good as it played and was constantly frustrated getting it (the B string) to sound consistently good live. Lots of other players were using them at the time and lots of great players still use them today so maybe a lot of its down to the player (as in me) more than the bass? I don't know. This now makes me want to track down my old MM5 to really find out. What I can say though is back then by chance in a music shop, I picked up an Overwater 36" scale Progress 3 and instantly B string problem solved. I was so happy with it that and convinced I had solved the problem that I announced to my then wife, so pretty serious stuff, that we were not going on holiday that year and bought it. 125 or 130, steel or nickel round wound, different manufactures, B string no problem either way. This then took me on an expensive 15 year journey from Overwater basses to 35" GB basses. All had killer B strings but now a new compromise (for me) playing with the longer scale length. I've now solved the frustrating B string vrs scale length problem by going back to a 4 string as my primary choice of bass and will only use a 5 if I really really need to. This really works for me on many other levels apart from just the low B thing. I don't expect its a solution for anyone but just sharing my experience. The Musicman 5 got me into the whole expensive mess in the first place but at least I now know what will and wont work for me. So after all that rambling I'd say go out and try some of the other 5ers out there to see what you think and only then get into different gauges and string types for the MM5.
  10. Depends on how good the dep/s are. We have tried out some in the past that we would never use again hence no giggy tonight. It would have to be the toss between canceling wedding or similar before we took a punt on an unknown or agree to use a sub standard singer. However our usual deps we already know are of a high standard. So its even more annoying as we could have booked one of them if we had known in advance what was going to happen.
  11. When we book a gig in advance with a dep, we already know that dep and capabilities of that dep. Usually that dep has played/sung with us before so we know what to expect. We never go out of our way to take a punt on someone and see what happens. Or do a gig knowing in advance the dep on offer is sub standard.
  12. Going over fresh messages just now it looks like the following happened: Us: 10th Jan : Can you do gig on 15th Feb? Her: Yes Then.....somewhere along the way the other band, which apparently she is also a full time member, asks same thing and she says yes to that too. Realising her mistake but only at the last minute, we get dumped. Basically she painted her self into a corner. She flipped up. Thing is we did ask first and no matter what loyalties she has to her band there has to be some moral thing here. But its done now and we move on. New topic, maybe for a new thread but.... Have you double booked your self on a gig and only realised last minute what you have done and how did you sort it out? Or hypothetically what would you do if did?
  13. Have you been here? Rant begins: So after all the grief of getting gigs, seeing who is available, arranging dep cover for who ever is not ect , dep singer casually lets us down the night before a gig expecting us to be grateful for the sub standard dep she has put in her place. She was booked on this gig a month ago but got a better offer last minute. Went from "this girls good and can cover the gig but I want you guys to know you are my priority" meaning I'll still do the gig if you really want me to, to " actually I'm doing the other gig and thats final" when we expressed our concern at her replacements obvious lack of ability. We've cancelled the gig as we know only too well that embarrassing vibe on a gig thats going tits up and getting tarred with the same brush as the weak link. The dep that let us down is a great singer so its very disappointing. There is an awkward feeling between us now so its unlikely we will offer anything to her again in the near future unless we are in a last minute desperado situation. If I book myself on a gig thats it I'm committed. If that band gives me loads of gigs then I'm really not going to go out of my way to let them down. This wasn't some diary error, just plain and simple 'yeah I'll just change things around last min' selfishness. How can we even think about talking to her again now shes done this? What would the great Basschat hive mind do in this situation moving forward?
  14. Spent years in my youth perfecting slap bass playing. That and wa+*ing. I can still do both but dont have the same enthusiasm as I did then. But I will say one of these useless talents still draw a crowd if I do it in public during gigs at certain point in the set by myself.
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