BassBus

Great playing as always, Mike. What is your fretless tuned to?

Here's my 1984 Tokai Jazz Sound with a J-Retro in it. Monstrous sound too, when you want it.

[quote name='discreet' timestamp='1381688938' post='2242396'] Whenever Rutherford is mentioned I always remember him thus: Nostalgia isn't what it used to be, etc. [/quote] ...but still one of the most iconic images of my youth. THE best period of Genesis (IMHO, of course)

[quote name='Skol303' timestamp='1381415848' post='2238773'] Basschat's own Andy Saxton does this better than anyone, in my opinion. [/quote] Seconded. Here's a newer one of his. http://www.youtube.com/watch?v=-UyZm459eck

I hate tapping and I hate slapping. BUT! and it's a big BUT, these are amazing. Really original and I love all the rhythm changes. Great work! [size=4] [/size]

Is it fretted or fretless? I have a fretless model and have used flats, halfwounds and it is currently strung with TI Jazz Flats. If you're used to flats you might not get on too well with the lighter tension of the TIs. Halfwounds just brought it alive so if yours is fretted I'm sure those or rounds would do fine. Flats would be fine too, just too high a tension for me.

Oooh, and McAfee doesn't like their site.

Wow! I like that. What is the body wood? Looks beautiful.

[quote name='blablas' timestamp='1380811777' post='2230936'] [/quote] That is amazing figuring in that wood. This is going to look good.

All of the above. Type of pickup. Type of wood. Type of string. Type of cables. Type of amp. Type of speaker. Type of picking approach. I'd also add that the type of surface your amp sits on is important too. I have put my amp on a hard wooden table and get a hideous , mid heavy tone. Place it on a soft cushioned surface and a much warmer tone.

Actually the Americans have it the right way up and we have it upside down. [size=4] [/size]

[quote name='thegom' timestamp='1380822680' post='2231167'] My point is more that everyone seems to only appreciate complex lines nowadays. [/quote] Youtube might have something to do with that. Janek Gwizdala has commented on the subject. The only clips of him playing on there are the 2 minutes of him playing at many miles an hour with a hundred notes per bar. [I e[size=4]xaggerate[/size][size=4], obviously] No-one sees the hundred gigs he did last year on a P bass.[/size]

Just measured my 3/4 in its gig bag. At an over estimate it is about 0.4 cubic metre. So no problem really.

Maybe it's time for you all to put your hands in your pockets and donate some cash to revamp the site that was revamped not that long ago. First world problems, eh.

Yes, does sound quite high. I like the action at the nut to be low enough to just hold a business card. That makes it easy to 'fret' the note at first 'fret'.

You could start with Allparts UK [url="http://www.allparts.uk.com/"]http://www.allparts.uk.com/[/url] And CH Guitars [url="http://www.chguitars.co.uk/"]http://www.chguitars.co.uk/[/url] Or Warmoth in the US (beware import duties) [url="http://www.warmoth.com/"]http://www.warmoth.com/[/url] Have a look around on Google too and Ebay.

I'm a bit confused here. Why would you buy a bass and then change it completely? What stopped you buying a better quality bass to begin with?

Lines/no lines is a whole other debate. You will get people saying yes to both. When I started double bass I drew pencil lines at 3rd, 5th, 7th as reference points. As time went on those marks naturally wore off. By then my hand knew where to go (usually) and my ear guided on any correction needed. There will always be dots at these points on the side of a fretless bg neck to give that reference. Eventually with practice your hand/eye/ear will coordinate and give you the right note. As always it will take practice. Lines will give you more of a reference point. However, if you have a high action on the strings you are still going to have to compensate as when you press on the string you are stretching it. That will change the intonation point. If you have a very low action that's not so much of an issue. If you start on an unlined board that cuts out one lair of learning, i.e. not having to learn to play without lines.

Practice on fretted so you can play fretless better. Apparently someone called Jaco did that. If you can play a fretted without any fret buzz then you'll be bang on with your intonation on fretless. Listen to all the great fretless players, Willis, Mick Karn, Bilbo. They all know/knew what they were doing.