Grangur

"Diatonic Harmony".... that's the term I was trying to recall. Yes, I can see getting into a band is a great education. I salute you for that and singing in particular. There must be a massive temptation though, to simply blag your way through and never go into depth until a need hits you between the eyes. At least the learning resources are so much easier and better now. It's good to have met you.

Ahh.... yes. More resources: www.studybass.com http://www.arianecap.com Ariane does a great theory book just for bass. Edit: Mrs G is here and just told me this. Her mother is a piano teacher. In her time she's taught 70 and 80 year-olds to read and study up to grade 7 & 8 piano.

Hey BigYin, I'm not a DB player. I don't normally venture to these lofty heights of BCland, but... I picked up bass at 50, following my divorce from a non-approving wife and marrying a pianist. At 57 I'm still learning and one day I hope to have the skills you have. On my journey I have met some really useful folk. One really great guy is Geoff Chalmers. He runs a site called www.discoverdoublebass.com on there are many lessons for DB. Aside of all that, isn't being able to do walking bass not a matter of being able to know the changes and being able to play a groove of changing/evolving notes from the chords/scales that go with each change? If the answer to this is "yes", then you need to know some theory to be able to know if it's a Major, Minor or Minor-b5 you need to play in order to fit in and play the right notes. Where i learned about this was Scotts Bass lessons accademy. In fact, writing this now is making me aware there's a term I want to use to describe this and I need to go back to the accademy to find it. Also, on my path I learned to read. Doing it on dry, boring stuff was painful. So I created my own stuff to read and get into it. I've already published it all here for free: http://basschat.co.uk/topic/215336-learning-to-read-the-dots-sheet-music-to-learn-with/page__fromsearch__1 I hope some of my ramblings will help a bit. Good luck and keep with it Bro! You'll get there. Life isn't over yet! I'm only beginning mine. Hey, I might even gig one day!

Video not there. You mean the BB714BS; with the split, then the humbucker at the neck as Billy Sheen? That's not as you described though. Funny how you're after the added punch from a big bridge pup presence. I'm trying to sell a Thumb as the bridge pup punch isn't what I look for. But then again I, regrettably, don't gig. I don't have cutting through the mix to worry about. I digress.

It's for things like this I sometimes get tempted to go and do drain test routs on a bass I've picked up cheap. Right now I have an old Encore. It's a P with a roadworn body. It's dinged and has stickers etc. The neck has the TR adjustment at the heel. It cost peanuts. I could afford to really lay into it with a router... But it's got Mojo!! It's ok. There's nothing wrong with it. Why wreck a perfectly healthy bass?

James Bastion and "Alfred Piano Methods" are both good writers of stuff for piano, so Mrs G informs me.

Hmmm... now isn't that a real case of "when old meets new" ? Maybe, if someone has a body with a swimming pool rout you could borrow it and try it out? Dood, is this an arbitrary thought, or do you have a bass actually waiting for a router if it ticks the boxes?

Proximity sensor maybe? Or would that maybe, being too selective on actually hitting the spot? Perhaps some added info on what exactly the doc ix ment to do when it gets to 'the spot' would help? Is it a case of hos left front will be on pad A and the right will be on pad B? Or is it not that accurate?

[quote name='Cato' timestamp='1472714647' post='3123473'] I've not tried one but the natural bodied Fender Elites (and before them the Deluxes) look very pretty to me. I'm a bit undecided about the merits of active basses though, particularly active Fenders. [/quote] Me too. I'm becoming more convinced that all you need is a good setup and pickups. The preamp often over-boosts IMHO.

Blablas, your work is breathtaking as always. Most of us, myself included can only dream of owning just one bass like these. How do you manage to do all this AND find time to play them? Thanks for posting this.

[quote name='Number6' timestamp='1472683703' post='3123355'] I thought at first the clutch had gone on your van...... More haste, less speed when i read methinks. [/quote] Me too. I thought, "I didn't know clutches were fan cooled".

Hey Jim. What a cool looking bass. It's great to see my old bridge being put to good use after a long time here.

I'm getting really tempted to try to find a jazz with a nice natural wood body,,,, so no good looking at Fender. For me maruscyk is a natural choice to look at for value for money on a great bass.

Welcome to BC Zonular. You only need to go on YouTube and see some of the young kids and petite ladies play "normal" basses to learn hand size means nothing. You can play anything you want to play. It only takes determination and the will to succeed. I guess, coming from guitar, it all just feels big? As for what to get and where do you go, what do you enjoy playing? Maybe you need to find a good stockist and try some basses? There's another recent thread here where people discuss the difference in sound between precision and Jazz anD some folk say there is no difference. In the mix, they're probably right. Have fun.

I'm intrigued by these and think I'd like to explore them. I'm wondering about getting a fretless and making it picolo, but would it work? Who here has a piccolo? Is it 34" or did you go short-scale? What have you used it to play? Any other experiences to share? Pictures and recordings welcome.

Pictures? How about 18" electric picolo?

Well, I am surprised. Seems I'm the only life-long fan of "Middle of the Road" and their song, Chirpy, Chirpy, Cheap, Cheap. You lot don't know good talent when you hear it.

[quote name='HowieBass' timestamp='1472307666' post='3120239'] @Norris - I'll try this with my Curbow 5 but it seemed to me that all the neck heel, in contact with all of the full pocket shim, in contact with all of the neck pocket would be the better engineering solution. I know that when people add high mass bridges with a chunky baseplate to an instrument, they often run out of travel with the saddles and the usual solution is rout the body to drop the whole bridge down by a millimetre or so... are you saying that another option is add a shim to the back of the neck pocket to tilt the whole neck backwards? From an engineering/geometry perspective there doesn't seem much difference between dropping the bridge into a shallow rout or raising the whole neck with a full shim [/quote] I can see your thinking behind liking the idea of the full-contact of the full pocket shim. I don't think this is a problem with a partial shim as long the connection is solid. The difference between a full pocket shim and a partial one is with a full one, if you effectively want to lower the bridge 2mm, then you will need a 2mm full pocket shim. If you, instead, used a partial shim, you would only need something like a 1mm shim. Also, if you use a full shim, this is visible as a gap a the the place where you look at the neck in the pocket. If you've used a partial shim the neck touches the bottom of the body in the pocket and nothing is going to be visible.

Another one here for using Linseed oil.