mooz

Hm. Then just give the chameleon-skin a try because you wont gonna find your bass anymore with zebra either …

Alright then - Go ahead with your Steve Harris Tribute Jazz …

Would love to see a tort-pickguard on your "Miller-Killer" someday.

Muting was the first and most important big thing on a six-string for me as well rather getting the high C involved in my playing. Adam Nitti´s introduced technique is part of mine as well. The floating thumb is one of different keys for a good muting. In addition to that I´ll support my plucking hand by muting with my fretting hand as well where it´s necessary. It´s mostly the pinkie and ring finger. So if you get into slapping the muting looks different. It´s depending on which height your bass is located on your body. Mine rests somewhere in the area between my hip and chest. Therefore I can lay my underarm on the B and E string gently and mute them while thumpin´ and pluckin´. Also here my fretting hand will support the string-muting for example with left palm-hand-muting. For further fingerplaying it is useful to watch John Patitucci technique too. This is a bit advanced. He used to anchore his pinkie and ring finger of the plucking hand on the B (pinkie) and E string (ring finger) plus his floating thumb for the next strings. He uses the pinkie and the ring finger as a pivot when moving to the higher strings like D, G, and C. I tried this out and find it became a quiet naturally approach too. Sometimes I used this pivot beginning resting on the E-string and so on. So I apply a different mix of muting techniques in order to what sound I want to get out of my six-string. And I´m still practising and exploring, it´s never over. For pick-style muting watch Anthony Jackson what he does when it cames to him he has to play with a pick on a 6-string. It´s much easier, because you can apply the palm-muting of the plucking-hand.

To be honest I never heard something different or special doing a rehearsal or gig when I strung by bass up with new strings. I´m just capable to hear "new string sound" under my headphones or while recording. And I´m somebody who usually hear the fleas coughing. Ok, my usual band surroundings always constists of more than four musicians, which generate a lot of "noise" and dynamics where a new string sound must get drowned. Rarely played in trios where loudness is gentle and the zing of new strings will be recognized. Plus my basssound won´t rule the band on top. I´m always underneath it. On the other hand - 120 Watts tell me they haven´t much headroom to give a well formed undistorted sound. In addition to the room acoustics and even the own life-condition everything can change into that "sh*tty" situation. Don´t give a damn about it, it´s just a real gift which makes you rich for your experience.

Bought an Aguilar DB359 all-tube amp. Very good communication and always showed up as a man with a further helping hand. Also a quick shipping. All thumbs (& toes too) up to Brusen! Highly recommendable. Thx, Robert

Welcome! Got myself a Squier Vintage modified a few years ago. Great bass & happy progress!

In no particular order: Anthony Jackson Jaco Pastorius Michael Visceglia Bruce Thomas Mark King Paul McCartney Larry Graham Victor Wooten Red Mitchell Francois Rabbath

Neil Cowley Trio: "Loud … Louder … STOP!" "The Face Of Mount Molehill" Spocks Beard: "X" Marcus Miller: "Rennaissance" Silje Nergaard: "Unclouded" Michael Landau: "Organic Instrumentals" Tedeschi Trucks Band: "Revelator"

dear Fellrunner! And enjoy.