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It's too hard to make money doing this...I gave up at that lol. I'm kinda introverted but also agreeable so I can fit in pretty well with anyone, tho a good hang is nice, too; sometimes it seems like my entire social life is just comprised of my family and bands I play in. So for me, the most...

I've been thinking about getting one and setting it as a "scooped slap tone override" kinda thing, so I can just jump right into that from my normal mids-heavy fingerstyle tone.

Kind of a dumb question but, is the switch loud? I had a Carcosa for awhile and the switch was really loud.

Great player and singer! RIP. He always had cool basses, too.

When I was younger I played octaves with my index and ring fingers but over time I've switched to using my index and pinky instead. It just feels stronger and nimbler. I even do power chords on the guitar that way sometimes, too.

If these were passive and the headstock was reverse I'd be tempted by the green one.

Check out The Dirtbombs. Turn of the millenium garage-rock revival but with a Detroit soul edge, and there's two bass players: one on, uh, regular bass, and the other on fuzz bass. It actually works pretty well. Also two drummers sometimes I think?

I've only used the BOD, so correct me if I'm wrong, but wouldn't a second sub-octave be of little use with bass guitar, unless you were playing way way high up the neck? Or is it just for adding a touch of deep rumble?

Dunno if these would be tough to source, but how about an 8-string/4-course set? Regular EAD and G strings, then the second course/octave A and D strings, tuned up a step.

PJ Jazz, very cool! The only thing that kinda puts me off these is the headstock.

Sorry to derail slightly but can I get any more info on the Orange Juice/Burst pedals from y'all who suggested them? I always suspected those might be good for bass since they have a 2 band EQ. Oh and to contribute to the thread, Behringer Vintage Phaser is a solid no frills knock off. Just...

Satin is cool but ya gotta love that mint, and it looks great with the blonde neck. Maybe a clear guard would make the burst a little prettier tho?

His playing may not be "great", and he does sometimes play pretty simply, depending on the song, but he also has some really creative, lyrical parts; "Something" and "Penny Lane" come to mind for me.

Maybe Stevie Wonder? Child star in the 60s, by the 70s he's making super ambitious art-prog-RnB, then even stuck around into the 80s for "Master Blaster" n such.

Both people really have to want the same thing out of the situation or it just won't work. It's hard to find that balance, but it's necessary.

I really like "Perpetual Change" as the last track on "The Yes Album". One of the things I like about LPs is you get TWO album finales (and beginnings)!

I would definitely go with an Octaver. I've got the MXR BOD and like it alot.

This especially bugs me with rhythm guitar. If the player is tasteful and smart, it can be okay to play loud licks in a solo or in response to the vocal melody. But just slammin away on a big fat G chord or what have you is very irritating. Nobody really needs to hear that.

Great song, I did a deep dive into those Stax singles recently too. I seem to recall reading somewhere that they basically improvised the song in the studio, that could have something to do with it. :laugh::cool:

I feel ya on this, OP. I have the EHX Mini Qtron and the volume bump does make it tricky to use. Look for stuff with a blend knob maybe, like the MXR Bass Envelope Filter.

Gotta have a tuner and (if I didn't have one in my amp head) a compressor. After that I love having an octaver and then maybe an envelope filter. Never really messed with preamps or dirt much but I can see it being important if using a really "clean" sounding amp.

OP you gotta work on the confidence and self esteem thing, it's killin ya. If YOU don't believe in your work, why should anyone else? As bass players we are often expected to "carry water" for everyone else in the band, which can be very frustrating if you have greater ambitions. The only way...

I was rocking out to Yes while I was cleaning the kitchen this weekend, and I realized, I think, the reason Chris Squire's weird sound works so well in that band is that the guitars are usually pretty dang clean. Just a touch of amp grit mostly. So everyone still has their own little sonic area...

Just let people live, man, damn. Everyone is fighting their own great battle. As long as they aren't hurting anyone else, just give them some basic human respect.

I've been interested in this kind of setup for awhile...I love plucking at the end of the fretboard and am aiming for a more "thumpy" tone these days, but the bass loses quite a bit of power when it's being played so far from a pickup. Maybe an old Epi EB-3 is in my future. I wish those Squier...

Just chiming in to say, cool bass with a cool pickup config :thumbsup:

These look great! I like the colors and the neck. I wish they were slabs, tho...seems like these types are always 54 style, not 51.

Kind of an iffy time for rock (tho there are definitely exceptions), but it was a great period for progressive, ambitious, electronic influenced...R&B? I dunno what you'd call it, Black American music. Stuff like Prince and Zapp, very innovative production and of course good playing and singing.

I didn't realize these were medium scale. That's cool, kinda differentiates em from the rest of the lineup. Rock on, happy NBD!

I find it difficult to make slapping stand out in a full band setting. Maybe an EQ thing? It sounds really cool solo or on a recording if I kind of build the other tracks around it, but once you get guitars crankin drums slammin and horns tootin it kinda gets lost.

Cover band-wise, I'm not sure that "civilians" in the audience are even always aware of the "actual, official" bassline to a song, even one they've heard countless times. They want to hear the vocal melody, any iconic instrumental "hooks", and a rhythm section groove they can boogie to that...

It depends on the style. There have been time periods where it was really popular (80s synth funk, 90s funk rock, 00s nu metal), but you can kinda "fake it" by dialing in a bright tone and playing aggressively.

I almost never attempt note-for-note on covers, unless it's a part that's specifically important to the song, like "I Want You Back" (tho I think I'm still doing it a little differently :dead:). For me this is where knowledge of theory comes into play; if I holistically understand the chord...

I feel the same way about green :dead:

Yep they're like those, 3 holes.

Clapped out BB300 (albeit w upgraded bridge!) from the GC used. Tuning machine since broke and had a hard time replacing it bc the factory ones have kinda odd screw spacing. Good solid P bass tone for low $$. I think it’s from like 98 or somethin

Ooo, slab :cool:

Dang they look cool with the guard off. I'm GAS'n lol

I like the look of these alot. I wish they were slab-bodied tho, that seems to be kinda rare when it comes to 51 repros/copies.

P bass w/ flats and some kinda phatty monosynth