Linus27

Bloody amateur hey, if only he had lines.

Maybe not, I'm obviously singing with the birds but thank you for not backing up any of your claims with any evidence, that pretty much says it all.

A name like Tony Franklin, he has a name on an instrument.

So having lines changes time and the ability to adjust notes but if I had a line on my fretboard I would have more time??? Any proof to back this statement up that having a line gives you more time to adjust individual notes or again is this just your opinion? What about if I have a full proper fret, would that give me even more time or slow time down even more, would I actually be in credit with time?

What makes you think this and do you have any evidence to back this up? I don't see why having lines or no lines makes any difference if the player has good technique. What evidence do you have to back this up or is it just your opinion? What is the certain tempo that constitutes that unlined is now unable to pitch adjust?? 100bpm, 110, 97??

I play unlined, always have and use my ear and roll my finger if I need to adjust on the fly. As long as you have a strong ear and technique, then playing unlined is no different to playing a fretted bass, you just need to listen more to what you are playing. I find lines are way too distracting as you have a target to aim for all the time and found I was way less accurate rather than relying on my ear and technique alone. I have no issue if someone prefers lines or finds it easier, for me unlined is easier and more natural to my playing.

That is absolutely beautiful, please don't hurt it by adding frets to that gorgeous neck. I'm happy to do a service to the Basschat community and buy the bass to protect it 🙂

This is what I did and got Shuker to make me a replica of my neck but fretless. To be honest, the replica fretless is nicer than the original Fender fretted.

HEHE no worries, that's exactly when I got my Barts for my Jazz and I also can't remember which ones I had fitted

Hi Chris, I've got Barts in my Jazz and its the best sounding Jazz I've ever heard. Do you know what Barts you put in your P-Bass as I've just got a new P-Bass and fancy trying some different pickups.

I absolutely adore this version of Sugar Mice by Marillion. Beautiful voice and incredible musicianship.

Very nice and great effort. If you wanted to make it easier, on the original the first chord is just playing the root. Looks like you are playing an F# and the open E where as the original just plays the F# root note. Not as fun though as your version. Bass sounds great as well.

I bought a brand new Musicman Stingray from The Bass Centre in 1998 and no matter what setup it had, it would never stay in tune. Took the bass to Strings and Things and they confirmed the wood used on the neck was too soft, contained too much moisture and they replaced it with a new neck. Never had a problem with it after that. So worth pursuing as it could be a manufacturing fault.

In that case, sell the fretless if its surplus to requirements and buy a fretted Precision.

If the neck is an original 78 fretless neck or an genuine original fretless neck then if you want to fret if then I will find you and make you eat goulash every day until you see sense 😆 Basically, if the neck is an original vintage fretless neck then no. If it isn't then crack on.

To improve your playing you need to listen to other bassists from genres you don't normally listen to and learn to play their bass lines. You need to be a sponge and soak up as much influence as possible. You don't need to become an expert in how to play other genres but just pick up how bassists from those genres approach writing bass lines. For example, if you play rock and listen to stuff like Foo Fighters, Iron Maiden, AC/DC, Nirvana etc. then go listen to some reggae and start learning some Bob Marley tracks, or go and learn some early The Police tracks. I guarantee you'll learn something new that will start to come out in your playing. Just be open to all genres of music and listen to the bassists that are well known and regarded and listen to what they do. You don't have to like the music but as a musician, you need to be open to everything and as a musician, you never stop learning. The other thing to do is look at your bass lines and start the root an octave up to just add a bit of variety. For example, if you are doing a walking bass line starting on the A on the E string, then the C# and E on the A string and then the F# and A on the D string. Try starting by playing the A not on the E string but on the D string. So look at the notes you are playing on your bass lines and see if you can play any of the notes elsewhere. This will create a bit more variety and movement in your lines. Even better if you can slide up to a note or play one as a harmonic instead.

1. Timing - You need to lock in and be as tight as a midges derrière but still have the space for movement and expression. 2. Variety and Dynamics - You want a drummer who's going to add expression, personality and flourishes and not just play the same beat or groove for every song. 3. Musical Understanding - Despite all that is said and done, the drummer needs to serve the song first and foremost and not use it as his own platform to boost his ego. After all, that's what the guitarist is there for 😆

Very nice @MacDaddy I had one of these up to a few months ago and absolutely loved it. Probably the best Class D amp I've had the pleasure of owning. Had it a good few years and maybe did close to 100 gigs. Only sold it as I got myself a RM Evo II. Where did you get yours from as they are pretty rare these days? Not sure if you are aware but the front panel is interchangeable. I contacted Ashdown just before I sold mine and they had a Teal one left so I bought it. If you're interested then I'm happy to sell it on. Just drop me a PM if interested.

It's the only way to do it effectively, you try doing it with a Tesla, never looks the same as a good old Landy 🤣

I dropped the bass, I think once or twice and the paint in that area cracked. I'm actually amazed at how thick the paint was. So over time, the crack got bigger and bits kept snapping off until one big chunk just snapped off. So I've since rubbed the edges down so there's no longer a ridge to catch on anything. I'm kind of tempted to mask the area off and spray some hammarite over it but I'm kind of tempted to leave it as it is a proper battle scar.

So this is my main bass, I bought it new 34 years ago and has done well over a 1000 gigs and been on TV, tours, recorded albums and live radio sessions. All this damage is genuine and the bass I would say has not been cherished. It was also played for about 25 years with a heavy pick playing guitar punk pop so the heel has worn down but I did also wear a wrist band because if I didn't then I would end up with blisters on my wrist.

That's a rather cute looking fretless, do tell us more about it.

So you're telling me if I buy one of these basses, it doesn't come with the scew holes pre-drilled for the ashtray cover? Well that's me out then. It's bad enough having to plug my own lead in and turn the amp on. They'll be expecting me to play the damn thing next 😂

Paul Webb - Talk Talk. Four fantastic albums.