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bass player 53 said:

As far as the piano (and horns, etc.), I think it’s far more difficult to play slow ballads. You’re not churning out licks, quick arpeggios or fast scale fragments, etc. The really creative players (all instruments) go in harmonic directions that the bass player, if they’re listening carefully will engage in. Those moments are less frequent, but truly special. They bring smiles on the faces who hear, recognize, and appreciate.

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Listening to what we played, I figure out I'm not so far from what they want, some and a lot of technical defects can be heard...
Do you know what the pianist says when I'm playing out of tune or the wrong note ?
"The bass is not supposed to be heard."
We laugh a lot !
French is not his mother tongue so when he is giving advice or something else, he is as harsh as I am when I'm talking to you here.
"Don't play like a disable, everyone can play like you do, do what you want, explore, find something, the audience doesn't care if you're a beginner, if it's out of tune we don't mind, do something ! The bow, the bow... Some bow is good but not too much, if you can avoid it it's good but we want the bow !"

Swamp_Ronin said:

what is the best cab for metal

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The one that Travis Bickle drove

CamJazzBass said:

What Keeley did you go with?

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Bassist Limiting Amplifier. Seems incredibly straightforward and exactly what I'm looking for.

Photos -1982 Standard Jazz bass ‘Dan Smith’ 1st issue .By early/mid ‘83 the 2nd issue was launched , most notably featuring a single ply one piece pickguard which also housed the controls.

edwinhurwitz said:

Maybe, but if any Guild bass were to get that kind of money, it would be this one.

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An original M85-II, the “Sheryl Crow Bass”, is quite hard to find. I looked for years and finally found a USA reissue that I paid $2k for. It’s a great instrument, but I think I will change the lo-cut toggle to a master volume, like Ms. Crow did.

If OP was selling, not less than $5k…

Ah yes...

Wasnex said:

You could also try working on vocals with him acoustically at a low volume level. If I can't do it acoustically, then the best mix in the world is not going to help him.

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We do go over vocal parts with just guitar or a cappella when we're adding songs, refreshing or when an issue is noticed. But this is something we've been looking at...trying to figure things out and on reflection this might be where the band is giving him the short end of the stick. Because he doesn't have any critical parts (pretty much fill harmonies), he hasn't been included in vocal sectionals...the reasoning being that he would just be standing around most of the time and what's asked of him are the kinds of things that devoting some time at rehearsal *should* be enough...it is for the rest of us with those kinds of things. Learn/practice, rehearsal work-up, practice, done...

While it doesn't address the part about not seeming to be able to hear the issues, clearly that reasoning doesn't match the reality and isn't enough for him. Also, rehearsals aren't frequent enough to make things stick (for him)...and the way that goes "Wrong, do it again, wrong, do it again...we're not trying to bust your balls...wrong, do it again" until we get a few good run-throughs then move on arguably isn't fair to him. So a change to the way things are done is called for.

UPDATE

There's nothing wrong with the Walkabout so I am going to clean all the jacks on my basses and buy new speaker and instrument cables

Once it gets to a certain length, it's fine though

Matt Liebenau said:

I don’t think those are the same bass but the way the grain below the pickups is “lit up,” so to speak, in the first picture has a lot to do with the light and the finish. It’s possible if the second bass were turned about an 1/8 of a turn or the light was hitting it slightly differently it would look the same.

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Yeah the flamed maple makes it really hard to tell as like you said it's so sensitive to lighting.

If the bass really has the vein, I think it's pretty unlikely one would be able to hide it in all the pictures.

Nonetheless, in my option this is by far the closest match yet and who knows, the vein might have been covered up by a luthier or something like that – sooo I've registered myself on the platform it was sold on. BUT to be able to send the seller a message, I've gotta verify my account. Which only works via mail. Physical mail. Honestly, in what age do we live in? So let's hope the verification letter arrives soon.

manchego_eggo said:

beautiful build! Im generally looking to avoid EMGs/active builds however

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For passive pups the Delano XTender gets my vote of confidence, I have a set in my second Basslab

my old roomate would play his sg through my d180 and two orange obc115s from time to time

the whole neighborhood enjoyed his G n R repertoire

I first saw TOP years ago at Jazz Alley in Seattle. We had the crappiest seats in the house, hidden from the stage behind a pillar…..but about 5 minutes after DG, Rocco, and company started performing their magic it didn’t matter because everyone was up and dancing. Weird to see 60 and 70 year old people seriously getting down!

agedhorse said:

Well over 100 lbs...

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Too much now and probably then. In the 80’s my rig was a GK800RB With an Acoustic 402 215 cab which I think was relatively light and had wheels on the side so I used it as a dolly. Worked great and sounded great to me.

I've used EZDrummer for over a decade and have been quite happy with it. (I've also bought a lot of expansion packs and MIDI packs for it over the years.) I think it's great. It's true that almost all the drum sets are processed to an extent, but often the effects, like reverb, are on separate tracks and can be boosted, lowered, or cut out entirely. I know SD is more versatile and powerful, but not everyone needs all of that. A big advantage of EZD is that it's, well, easy. If you aren't primarily a drummer and/or don't reach ecstasy by tweaking drum sounds for hours, it may be a very good choice. The basic sounds are quite good.

It's not addressing your question, I think it's been answered already, but...

I also just got a Capo, and it is fantastic. I replaced my Mantle with it - it wasn't clear to me what exactly the Mantle was doing. The Capo is incredibly versatile. I had the same question about the effects loop.

Is there any way to have levers on the bridge? Maybe on those cello like bridges?

Being able to detune with right hand is so much better

The Oktava MK012 is a wonderful microphone. I have two, each with the three capsules (omni,cardioid, and hypercardioid) and attenuating pad, all of which fit into a tiny case. They're good for just about anything other than solo vocals, but they do have a pretty low threshold for feedback, as do most condenser mics. I've most recently used them a choir mics.

mambo4 said:

Oh for certain. If I'm learning new material and getting something under my fingers fast is the goal, I will typically avoid open strings and first position fingerings. Once I have the material down I start exploring other approaches, just to see what feels best. Sometimes the ability to opt for an open string create opportunities to shift to something better.

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For some reason, I do the opposite. I try things first at half or first position to work through the open strings. Gives me a better sense of how it works. Then I move it to where it's easiest to play. That way if I need to do a fast shift I know where the open strings are in the pattern.

Well picked up the bass today and it's in Dead Mint condition with all the paper work including the original sales receipt bought from the person I got it from, I'm the second owner and hasn't been played in 10 years..Was bought 6/18/2016 at Sam Ash.. The man I bought it from played it at church for a couple weeks then switched to piano and never touched the bass again. Definitely needs a set up and I wouldn't be surprised if it has the original strings on it, Can't wait to set it up...Scored on this one...

I loved Madonna live performance!

I have to chuckle a bit with this. My guitarist has a Henricksen too, but he begrudgingly drags his ancient Peavey PA amp and speaker along as well.

J R Knots said:

I think it sounds great for electric bass. Very easy to dial and both the reverb and chorus sound great. Depending on the setting it will work well.. but I wouldn’t try to use it in a loud setting.

It also has two channels and for some gigs I have been able take only this amp my bass and vocals. The guitarist I play with has a Henricksen with two channels, so he can do the same. It make it pretty easy not to have carry the PA for these situations

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I have to chuckle a bit with this. My guitarist has a Henricksen too, but he begrudgingly drags his ancient Peavey PA amp and speaker along as well. Actually, I’m not much better with my antique equipment either. Hmmm…

dannylectro said:

Thanks! Problem solved

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Awesome, glad to hear it!

Thanks everybody I think I'm just going to order the stewmac.

DavC said:

i am also wounding about the tension and feel compared to Ti flats ... since the Ti strings have silk warpped under the flat wrap for a softer feel ... but i think that does sacrifice some sustain .. !?

thanks for the info ... these look interesting ..?!!


Edit ... just saw then at JustStrings ... $22.50 ... !! that's a price that 's worth checking out .!

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JustStrings RIP