Our family stereo system when I was young had a blown tweeter in one speaker, so I grew up listening to very bass heavy sounds. My older sisters were also very much into Stax and Motown records, so I was hearing bass forward music from an early age.
I came from a musical family, so I learned to play autoharp at 3 years old , and inherited my sister' mandolin and acoustic guitar when she moved across country and played them through elementary school. I bought my own electric guitar (much to the chagrin of my mom, this was the late 70's btw) when I was in my teens and subsequently played in a few punk and alt bands. But I never lost my love of the low end sound
I married a guy who played drums and when I was pregnant with my daughter, he bought me a Epi Accubass and a Peavey practice amp for Christmas. When the kids were young I didn't have time to play but when my son was 9, he took up guitar and I started to go to the same music studio for bass. I also found a love of jazz and eventually added an upright to the collection. I've been playing bass for over 13 years and have drifted in and out of a few bands, rock and jazz.
I've played quite a few instruments over the years but bass remains the one that really speaks to me.
^along with the advice above, record yourself. This helps to dial in songs and rough out the edges, even though it can be brutal to listen to at first. And go out and see other local bands for comparison. You'll be surprise at how you compare sometimes.
Here's a bit of advice I learned from the first jazz combo I was in, but honestly, it will apply to any band situation. Player softer than you would usually and listen to each other. This is especially true of you and the drummer, but really applies to everyone. The bands that I have been in that have been tight and fun to play in involved people who listened to the rest of the band and saw their contribution as a part of a whole. Serve the music, not your ego.
The only advice I'd give for a new player is not to "hook" aka use one finger. It will slow you down considerably. And if someone brings up James Jamerson, the fact of the matter is that he started out playing an upright, where "hooking" is much more common for early rock and roll and rockabilly players.
Well I went with plain ole super slinky's from Ernie Ball..
I do like this gauge and will stick with it.. However, many rehearsals, one show, and one studio date later, they already are sounding dead...
I'll give DR Hi Beams a go next time.. I've heard they're really bright and last a long time. I just haven't played stainless strings before... Do they have a big difference in feel compared to the nickel I'm used to playing?
That is one of the issues I have with EBs. If you are looking for a similar sound Roto 66s sound similar and last much longer. I also like the Bass Centre's Stadium Elites, but they are a bear to get in the US.
Your English is good, viel besser als mein Deutsch!
Fenix basses have an interesting story. They were built in the same factory in Korea as some of the Fender Squier basses. There was a large lawsuit between Fender and Fenix because the Fenix basses were the same as the Squier basses they were making for Fender, and selling at a lower cost. The basses have a reputation for being great instruments. A quick search finds they sell for under 300 USD, so 260€ seems reasonable.
^I was coming on to post that. I saw her obit on NoTreble.
It's difficult to state how much an impact those late 70s punk female players had on generations of women and girls, who in turn picked up an instrument to rock in turn. So many of them are gone--Lorna, Poly Styrene, Ari Up, Wendy O Williams.
The Germs were such a seminal punk band as well. They only left behind one studio album, (GI) but it's a brilliant piece of punk rock.
Unless your amp is going to mic'ed that's not enough headroom. Its not about clean sound, its about being heard. As a rule, you need two to four times more wattage than your guitarist, just to cut through the mix.
^the best band I was ever in had a lead guitarist who made every one turn down and play softly for the first few times we ran through a song. He made sure we all listened to each other and locked in tight. It was the first band that I was in as a bass player (it was a jazz trio) and it raised the bar for me. Unfortunately, the last band I was in had two rhythm guitarists who either refused to listen to the rhythm section or played so loud you couldn't hear the bass. So I empathize with you completely.
I'm going to throw out a general musician wish, that places would start booking original bands instead of tribute bands. For every original band locally, I swear there are three bookings for a Led Zeppelin, Tom Petty/Heartbreakers or Grateful Dead tribute band. I don't mind people doing covers per se as part of their sets but going around pretending to be Robert Plant when there's great music to be discovered seems slightly criminal to me.
And I agree with Ben about Davie504. He needs to go away.