Linus27

I know exactly what you mean as I've recently moved to the double bass. All that I can do is try and look interesting and occasionally tilt my head and shoulders over the body when playing high up to make it look like I am doing something magical 🤣

I'm not 100% but I think I pretty much have one of the stand legs in front of my right leg so that my right leg is between two stand legs. The main thing is as long as the stand leg isn't in my way then that's all I'm aiming for.

The way I set the stand is to open the legs on the tripod and lock that in place. I then slide the inner part of the stand upwards so its high enough that I can touch the bottom ridge bit with the tip of my thumb and with my fingers outstretched, the top ridge with the tip of my little finger. That way, the first fretting position is in line with my eye line. Hopefully that makes sense. I'm 5ft 9.5" so you might need to raise or lower depending on your height. Make sure you look at the stand and bass attached from behind as you can see if its straight or crooked on the stand as well. As for the angle, I have it tilted back a little so I can see across the board a little, so maybe tilted back about 20 degrees.

Big Rotosound user here as well. I love their Jazz Flats, so musical and amazing on my fretless P-Bass. I also use their Nickel Swing 66 Rounds on my fretless Jazz. Just wonderful strings.

On the video above that compares the Dunlops, DR, Rotosound, and or course La Bella, to my ears I preferred the Rotosound and the La Bella's but they were all similar but different. The Rotosound was warm but have that noticeable P-Bass clank so were quite musical. The La Bells's were nice and thumpy but also articulate, they had a lovely tone to them. The Dunlops also sounded very nice and in some ways very smooth and round but didn't grab me as much musically. The DR's were the thinnest sounding and were brighter and a bit more aggressive sounding.

Why are Dunlop flats so expensive? Surely they can't compete with LaBella or are they so superior?

Probably best for me is my Ibanez UB804 EUB. Such a brilliant instrument and a joy to play.

I really like Rotosound Flats, I find then very musical and a joy to play. I also have the LaBella Deep Talkin flats on a P-bass and I want initially keen on them but I've really warmed to them. I've no plans to change them.

My current originals band is about 30 - 40 a year. My old 50s/60s Rock 'n' Roll band a few years back was about 120 a year.

Thank you and yes indeed @Chienmortbb actually made my last cables so he would be my first port of call. For some reason, my browser missed the whole of this thread and all I saw was your post mentioning right angle jack sockets which is my preference and what caught my attention.

Who do you get to make them for you if you dont mind me asking?

If I was Fender, and I admit, I am a big Fender fan boy, I would make the following line of basses. Vintage: These would be US Reissues in vintage colours made to original specs. Pretty much there American vintage range. 62 Jazz 62 Precision 70 Jazz 70 Precision (Fretted and Unlined Fretless Options) 51 Precision 73 Telecaster 66 Mustang Modern: These would be a US model and a modern take on the Jazz, Precision and possibly the Mustang to compete with other high end manufacturers who have done their take on the Fender Jazz and Precision. They would be available in a range of standard Fender colours a range of more unique colours and limited runs in more unusual colours. There would be a choice of neck woods as well as matching headstocks on limited run colours. There would be the option of active and passive and different pickup configurations like PJ, Musicman as well as regular Jazz and Precision pickups. A fretless option, both lined and unlined would be available as a special order. These would be premium models and priced accordingly. You could configure your bass in the same way as the Sandberg website. Traditional: These would be Mexican and Japanese made basses similar to what we have now in the Vintera and Hybrid range with a variety of price points. Options would be limited but there would be a Jazz, Precision, Mustang and Jaguar available. Colour choices would be limited but still a wide variety. Pickup choices would be limited to the standard Jazz, Precision and PJ configuration. There would be regular FSR models based on Vintage reissues, for example a 51 Precision, a Telecaster bass, a 62 Jazz, a 70 Fretless Precision along with special versions based on the Modern range, for example a PJ Precision in a limited colour. These basses would be the more entry to mid level basses, in a range of price options to suit the beginner to the more seasoned player.

I can't seem to find any reference to these basses in these colour's apart from the Beryl Red and Aquamarine.

Ooooohhhhhhh Sherwood Green and Japanese Fender, take my money Fender 😲

Whatever they are launching, I'll bet money that there won't be an unlined fretless bass in the line up.

Yes it is. Awesome, thank you for confirming 👍

I took the neck off my Japanese fretless Fender Precision today and in the neck pocket was stamped 3CS. Does anyone know what this means? I did a quick Google and all I could find was 3C which was 3 Colours and CS meaning non-export custom shop. I couldn't find any info on what 3CS stands for.

I agree and I am more than happy with your recommendation of the Ampeg pedal. It is always on and it does work really well. There's just always that in the back of your mind niggle saying, maybe try the Cali76, it might be even better, look what you could be missing 🤣 So far I have ignored it as the Ampeg is great.

I think @Osiris should do a compressor clinic. We all turn up at some rehearsal studio with our rig. Pay him £25 for an hour of talking, setting up our compressors and recommendations. We go home happy and no longer confused about compression and he goes home rich and happier 😄

I play fretless and got the Ampeg Optical Compressor on the recommendation of @Osiris It is very simple but very effective and works wonders. It is very tempting to think the grass is always greener and get something different with more knobs etc. after all Pino uses a Cali76 and I'm super tempted to try one simply because he uses one. However, I'm super happy with my Ampeg Optical Compressor so I'll stick with that. If you are happy with your Spectracomp then I'd stick with it.

Really depends on the band. When in a 50's cover band playing in clubs, it was either 2 x 60 mins or 3 x 45 mins. Originals band is usually 2 x 60 mins.

I've actually aware of the finger in ear test. I can't remember the science behind it but a friend of mine was a noise tester for Sutton Council and she did explain to me once how it works. It is a very simple way to measure the bass as muting your hearing does amplify the bass but it was used to determine if bass is too loud as a nuisance. Its used in conjunction obviously with noise meters. I'm also aware of a sound engineer who has also used this method in venues. So its not a daft idea but the punter at your gig did sound a bit of a tool.

I asked my wife today to name 10 bass players. She said, Jaco, Jamerson and me. I was impressed 🙂