scalpy

The suggestion is very close to my own thoughts, however I'd suggest like the earlier post you have to couple live and recording technology. Both have been stretched and the next musical innovation has been driven by people who have maximised the potential of the resource, that stayed on the edge of a theoretical financial threshold. 90s rave culture couldn't have happened with the resources available in the 70s for instance. Synths on first issue were ridiculously expensive, but digital tech made them 'obsolete' and viable to young musicians. Live sound remained heavy and cumbersome but serious power was becoming available that wasn't astronomical in price. You get exceptions like punk for example, but it could be argued even they were maximising the technology available cheaply (not forgetting never mind the b******* was recorded at AIR studios) Today we have people rinsing every available bit of processing power out of their laptops, and this has happily in my opinion given rise to groups like Snarky Puppy and Vulfpeck who couple it with a video editing aesthetic as well. You also have to factor in the people that sell mainstream music want to pay as few people as possible, but that's probably a different thread entirely!

That's a shame, I'm thinking of trying to do pre/ power/ pedals all on one board as my next amp solution. These sumos are top of my list to try.

Damaged and unsafe how? More unsafe than a cheapo Chinese knock off? I'd have gladly risked it as a music head of department and used them as decoration if they really were that bad.

Another flats and clean amp user here. It gives a lovely woody sound and sits against a good fat kick drum sound like a marriage made in heaven.

Again, not my story so apologies but a friend has had a slash next to Slash.

I had that model for my first bass in the early 90s, never seen another. I believe its a PB3.

Unfortunately not my story but my Dad's. He started work at a new school as a physics teacher, with one other guy in the department. This guy is every cliché in the book, smoking roll ups in the classroom, Tweed jacket with elbow patches and unruly beard. Struggling for conversation Dad asks this guy knows if the music department ever needed any help as he'd be happy to help. The guy replies he often helps out himself. So the first rehearsal comes along and this guy turns out to be shi£ hot saxophonist, so Dad asks him where he learnt - the guy replies 'I picked some stuff up off King Curtis.' Naturally dad assumed that meant lessons but the guy went, 'No, when I worked at Atlantic in New York in the 60s.' Turns out he quit to raise a family, but only after he produced Bette Midler, The Velvet Underground and mixed Louis Armstrong's 'What a Wonderful World.'

Yes

Great performance, plenty of tasteful bass to work out too.

Sweet as

Travis Dykes has a good channel, its tuition/ bass grooves more than covers and in a gospel/ neo soul kind of vibe. https://m.youtube.com/user/musician5663

Learning parts before the rehearsal- yes, but then remembering them after that too! My mantra is to rehearse with gig energy levels, that way when the adrenaline kicks in for the real performance the bar is already higher.

Its one of the great pleasures of pit work and sessions to an extent- you just have keep learning and make the md/ client happy. It also creates opportunities to buy more gear as well of course!

Thank you, appreciate it. Saving weight is worth considering. I bought the bass for pit work, so sitting down and even then she's heavy!

I'm going to change the tuners on mine- it's the only thing I really need to uprate for what I need the bass for (at the moment, gas pending.) Do you know what model tuners yours are please? Thanks Harry

Westwood #1.

Sounds like your rotator cuff- head over to YouTube and visit the Athlean X channel. The presentation is not everyone's cup of tea but there's heaps on how to condition your shoulders and those muscles specifically.

Too good to be true?- I'd have another LB100 in a heartbeat.

Another stunning George Martin arrangement. When he took the master to the Bond producers apparently they went 'Great demo, imagine how the finished article is going to sound!' George and Paul had to do some persuading.

The World Is Not Enough- with the blatant caveat of shoe horning a name drop in. My band were doing a day at studio 1 at AIR in 99, and whilst there was a break in proceedings as the singer and drummer went to get some food. I was chatting to the producer when David Arnold walks in, says hi to the producer and asks if we wanted to hear the new bond theme as ‘nobody else has.' We didn't take much encouragement and sat there listening to the song on the enormous monitoring system grinning from ear to ear. Red letter day and then some.

Love these and it helps having the Roots to groove along nicely. Goes to show it’s all about the quality of the song!

That's my wife's perfume.

A anecdote I heard was that Jaco himself had a P with monster strings and high action for this very purpose. Never seen it quoted anywhere else mind. It’s a strategy I’ve used on occasion- I have an acoustic it takes a G clamp to hold a note on and it certainly makes my electric basses seem like a breeze. But whether it’s a sensible option for beginners is another question as the more experienced player has had the opportunity to gradually condition their playing physique and good technique. I’d fear a beginner would end up trying brute force and hurting themselves.

There’s some room ambience on it a la Graceland.