stewblack

Anyone able to help with a template for the thin wibbly headstock shape found at the ends of those oldie worldie P basses?

A long period of marketplace inactivity came crashing down this week. I've saved up, and I've sold so I can replace my aging pc and get myself a backbeat. Useful items both, especially with online rehearsal perhaps become a regular thing even after lockdown. Then some unavoidably irresistible stringed things appeared and my resolve collapsed like a soufflé in a sink. One of these impulse buys brings to two the Cort corner of my collection. This beautiful jazz joins the C4, also purchased here fairly recently. I make no secret, I bought both on the looks / price tag method of instrument selection. I'd only heard the Cort name mentioned here, and then not often. But always the remarks were favourable, always suggesting underrated, quality basses. My test is simple: if all other basses had to go would I be happy to be left gigging with this one? A resounding yes for both of these beauties. So playable, well balanced and comfortable. Underrated? Not here, not any more.

That's great advice, thank you. And for the scales. Don't tell anyone but I actually enjoy scales!

Just concluded a straight forward transaction with Nick which was as smooth as a meerkat's hair piece. Excellent, timely communication, unfailingly polite and good natured, prompt and supremely well packaged. I couldn't be happier, would buy from Nick again without hesitation.

I use them. Unsurprisingly I think they're great. Wish they did flats.

I have done as suggested (actually a blend of the different advice) and the results have been great. As has been said muting or accidentally hitting more than one string is an issue but a fret wrap should fix that. I played a few parts as if it was a four, which was excellent advice as it kind of took away the "oh my god I'm playing a 6er" feeling. I then spent an evening moving one song I know well around the fretboard, finding it in as many different places as possible. What has really helped has been the work I've done in lockdown around theory and intervals. Sounds simple but knowing the notes I'm playing makes it easier to get used to the extra strings. For years I learned patterns or shapes which had to start on a specific string and fret. I now know the notes and can find them in multiple places. Improving my ear and scale work has helped me place my fingers more intuitively so the new strings seem not to be such alien territory. Rather, they're logical extensions to what I already know. Having said all that I still get horribly lost and entangled and wouldn't take it to a rehearsal never mind a gig yet! The bass run in Sir Duke is a lot of fun. Whereas it used to run up and down the neck horizontally, it now stays pretty much the same place and runs up and down vertically!

Out of interest, did you shift the original neck?

Nice one, thanks Greg.

Good to know thank you

Oh god. I knew this would happen as soon as I vowed never to shop with them again.

Met Martin in a village hall car park, in keeping with the long standing tradition of Basschat. He handed over the goods, I handed over the cash. One of those super simple transfers this place is so good at. The communications were excellent, the deal painless, there was even a soft case thrown in which I wasn't expecting. Oh and knowing an addicted man when he saw one, Martin brought an extra Harley Benton, just to see if I could be tempted. Yes. Yes I could. Great guy, great to do business with, heartily recommended.

Thanks for the advice folks. I shall try the suggested things

I used to play a fretless 5, but that was a fair while back. I managed OK but I was younger, more malleable

So, you suddenly find you've bought a six string bass, having never planned to own one before. What's the best approach to acclimatise yourself with it? Just play something you know well and move it around the fretboard? Scales? Some kind of exercises? Dive in and hope for the best?

I shall, but I have to replenish the bass fund

Well I'll be.... through some deft marketplace activity and more than a little creative accounting I have been closing in on the backbeat cash. Then up comes a bass that I didn't know I needed 🤦🏼‍♂️

Odd how these little things either niggle or add a little something isn't it? I quite like it too, now I come to think of it. But I don't actually know why! It's probably just a response to a tactile sensation.

I have sourced some non cooking resonators, but they don't kick out the same oomph as the seat melting one did. I have two, but intend to add two more once I am confident of my parallel /series ohm calculations. That way I ought to be back to my backside rumbling best.