Linus27

Absolutely nothing, it's just a personal preference and what individuals prefer or are used to. I've always played an unlined fretless and find playing lined much harder. I know where to fret on my unlined necks but with lines you have a target to aim for which I personally find distracting. It's a bit like writing on lined paper and having to conciously write exactly on the lines with every word or letter. I used to have a fretted 75 Jazz bass with blocks and bindings but I eventually found them so distracting from mostly playing an unlined fretless neck that I had to sell it.

I would probably say yes but the frustration is some manufacturers make a fretless but they are all lined. So they are available but not unlined.

I actually have four already, a Musicman Stingray SR4 with Pau Ferro unlined board, a Japanese Fender Precision with unlined rosewood board, a 62 Japanese RI Fender Jazz with unlined ebony board and a Fender FSR Precision with unlined maple ebony board. The Stingray and Japanese Precision's are new to me but it's taken an age to find them. The Jazz and Precision with maple neck I had to get Jon Shuker to make me fretless necks for as its just impossible to buy off the shelf. All of my fretless basses are second hand or with custom made necks. Thus my post about wanting to be able to buy new 😁

Late to the party but this is going to be easy and probably sound a bit like a stuck record 😁 Fender: Make a standard US Jazz and Precision with an unlined fretless neck. Ideally an Ebony board but Rosewood is fine as long as its unlined then that'll do. Fender: Make an American Vintage or Japanese FSR Precision with an unlined fretless neck based on your original 70's and first fretless bass. Even better if you made two, one with a maple fretless neck and another with a rosewood fretless neck. Musicman: Make an EB SR4 with an unlined fretless neck. Even better if you offered a choice of board woods. Ibanez: Make a Japanese SR with an unlined fretless neck. Even better if it's pretty with fancy woods and finishes. Ibanez: Make a modern day version of the Ibanez Musician with an unlined fretless neck. Yamaha: Just make a fretless bass god dammit and make it mid to high end with an unlined fretless neck. Other: Someone make me a pedal so that I sound like a cello, with the option to have lots of reverb or delay for long sustained notes and also octave so I sound like an orchestra 😁

Excellent, thank you

I've just watch a demo of the C4 and it looks super interesting. Are there any video clips of the upright bass patch anywhere as this would be handy for me also?

Great thread I grew up with NAD gear thanks to my dad who was a huge HiFi geek. We would go to the HiFi shows in the 80's and 90's that were on around the country and try out all the various gear. He had an original NAD 3020 amp and a set of Monitor Audio speakers and combined with the NAD CD player he had, it sounded phenomenal. I inherited it all when he died in the late 90's but I have since upgraded mine over the years. I've currently settled on a modern digital NAD 3020v2 which is really really good for the money but I do miss some of the original features of the original 3020 amp. I've also got back into vinyl and run a Planar 3 with RB300 arm and Linn K9 through the NAD and it sounds very good but I really need some better bookshelf speakers at some point. I mostly play old Jazz records, some original 80's stuff and one or two other records. At some point I'll probably upgrade everything to something better but at the moment, it will be the speakers getting upgraded. No idea what so any recommendations on a good set of bookshelf speakers would be appreciatated. I'd also do a shoutout to the original Mission Cyrus One and Two amp heads. They were awesome bits of kit.

I have a PF500 which I used faithfully for a good few years. Did about 200 gigs and has been totally reliable. Absolutely love it although its pretty old and beaten up now so its under the bed as a back up. I also used a PF50T recently to record an EP and fell in love with it so one of them is on my shopping list at some point.

Guildford is like that as well.

I had a fretted one at the end of the 90's. Bought it from a chap in Guildford. I'd always wanted one after Sting, Adam Clayton and a few other 80's bassists played them. Two weeks into owning it, our singer was jumping on the stage and it fell off and snapped the headstock off. Got it repaired at Nova Guitar Centre in Guildford but eventually sold it on as it was just a bit too heavy. I would love a fretless one in the deep burgundy colour like Sting's. Maybe one day, I will find one and buy it, after all, they do pop up now and again.

From Saturday night

Jazz - Nickel Rounds P-Bass - Steel Rounds 51 - Flats

Thanks Chris, really appreciate that 😊

Hi all, The band I am in, The Tim Shez Band, today has released our debut EP, 'Everything We Thought We Knew'. It contains 5 tracks and I play fretless on all 5 tracks. The style is acoustic singer songwriter with Tim playing acoustic, singing and some keys, Ben of drums and percussion but only using brushes, hotrods and beaters and myself on fretless. It's very chilled, emotional and intimate It's available on all the major sites to download and stream so if anyone fancies a listen then the links are below. Enjoy and thanks for listening Spotify - https://open.spotify.com/album/7nly6357ijxjLMoCRjT00s... Apple Music/iTunes - https://music.apple.com/.../everything-we.../1649581768 Amazon Music - https://music.amazon.co.uk/albums/B0BJ19Z3QN... Fall Tide Seconds Away Strangers I Miss You

Yes, I agree with this, it's not the lack of a compressor pedal and you also can't hide behind a compressor pedal. A lot of funky bassists don't use compression pedals. If I was to be brutal in my critique, it's like you are playing too laid back or in a lazy fashion which is losing you the attack of the notes, the snap and pop of each note. You need to attack them hard and then kill them quickly. Don't play the notes like James Jamerson, play them like Bernard Edwards, you're not giving us a warm cuddle but more of a slap around the face.

I don't know anything about the Dynaverb but I have a TC Hall of Fame 2 which is excellent and has loads of Tone Prints that can be downloaded. You also have the option to download 3 as presets along with the 10 already built in presets. I also only play fretless so yes, reverb on a fretless is lovely.

I had a Behringer Ultra Chorus which I thought was really good, very much a cheap Boss copy. As chorus is quite a integral part of my sound, I thought it would be wise to invest in a much better chorus pedal so I bought the TC Corona. It makes a cleaner sounding chorus over the Behringer but I just didn't get on with it and found no matter what toneprint I tried, it darkened my overall sound and added a boost in bass frequencies so in the end I've gone back to the £20 Behringer.

So my personal view which is exactly that and can be ignored is this, very nicely played, a few timing issues but very nice nevertheless. My suggestion though is to look at the attack and articulation of your notes. It's a funky track and your playing wasn't snappy or popping enough to match the track. I'd push a little more, make the initial attack of each note more aggressive and then kill the note sooner, not let it sustain so much. Ghost notes or damping might help with that. Still great playing though so well done.

"I live my life a quarter mile at a time. Nothing else matters: not the mortgage, not the store, not my team and all their cow poop. For those ten seconds or less, I'm free" Dominic Toretto - Fast and Furious Sorry, I wanted to do a quote as well, mine was equally as pointless.

So again, where is the evidence I think a blank board looks cooler? Only a few posts above I say the following, "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." Maybe if you didn't make things up all the time you might get a bit of credibility in what you say.

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??