Linus27

[quote name='redstriper' timestamp='1329741356' post='1546513'] Fret lines make a big difference to me as someone who looks at what their playing - check out Jaco on youtube and you will see he spends most of his time peering at his lined fingerboard. If you don't look, or if you are blind it makes no difference, but if you use your eyes, why not have the lines? I disagree with the stabiliser analogy and I don't see how fret lines can be misleading or distracting, particularly if you are used to a fretted bass. I've never heard of anyone selling a lined fretless bass in favour of an unlined one because they found it distracting. [/quote] Ok, then I will be the first person then that sold their lined fretless bass in favour of an unlined one because they found it distracting. Quoting Star Wars, your eyes can decieve you as I have yet to find a lined fretless bass where all the lines are in the correct place. I find using muscle memory, using my ear and learning the characteristics of the fretboard far more important than relying on the lines to tell me where to fret. Knowing your fretboard is so important, more rewarding and frankly easier than having to learn how far to the left or right or on the line on a lined neck is to be accurate.

Is EZdrummer a stand alone package? For example, can I install it on my laptop and play along to the drum patterns and create my own or is it a plugin and needs to be used with another package, for example Pro Tools?

I agree, I would go with non-lined. It may seem easier but in all honesty its not. Its easier to learn on an unlined neck. Just spend the time learning the fretboard as they are all different.

Schizznit, did you stand the 210 on its side to create more height? I wonder if that has any bearing on the directional issue. I know I stand my Classic 112 on its side to get more height. The clipping is a bit odd. The Reidmar would had been pushing out 250w into the 4 ohms Neo 210 but by the sounds of it you were not anywhere near max volume of the Reidmar so a little odd. Was it an active bass at all?

Here are my two Warwicks. Warwick Streamer LX4 2011 Warwick Streamer Jazzman LX Fretless 2006

[quote name='Hutton' timestamp='1329576635' post='1544448'] I have just acquired this Corvette Standard Actvice Fretless. [/quote] Gorgeous Hutton although not sure about the flats

Blimey Clarky, really gutted for you. I thought this was a great gig and at the time thought you were onto something really good that could go far. Really sorry it has come to this. Personally, I would take a few weeks out to re-charge and then start looking. Don't sit around pondering, life's too short so get out there and play.

Loved it. Thought it was a great fun video. Looked like you were having fun which came across really well. Great quality for an Iphone also.

[quote name='inkfid' timestamp='1329500462' post='1543519'] I just got the reidmar and a neo-210 and it is amazing! More than enough than what i'd need and easily matches my MarkBass F500 running with two cabs. All in all, a great amp! [/quote] Welcome to the club inkfid

Nice one Jeff. All sounds very positive. My Roqsolid cover also arrived and I am also really impressed. Fits perfect and was not expecting the hidden flap that goes underneath the bottom of the cab and velco's onto the other side. Nice little feature that was never on my GB cab cover.

Well, its not going well. Fancy one of these also

I would stick with the Fender personally unless the luthier is Jon Shuker. If Jon Shuker then you need to ask the question, do you want a bass that will be a brillaint working bass (Fender) with possibly some imperfections (my Fender's are perfect by the way) and will have a decent re-sale value or do you want a bass (Shuker) that will be beautifully made in every way that wont have as much re-sale value.

The chord change and Saxaphone part that follows it during the saxaphone solo in Marvin Gaye's Mercy Mercy Me. Its at about 2m15s in. The little saxaphone run after the chord change just gets me.

[quote name='Musicman20' timestamp='1329389049' post='1541565'] Linus - what a great gig! Congrats. I really like Weller live. [/quote] Thanks Gareth, it should be great fun. The venue is supposed to be amazing.

[quote name='4000' timestamp='1329382998' post='1541435'] The commercially available Crossroads dvd doesn't have the whole set, only a couple of numbers or so IIRC. The full set is only available as a bootleg, or was when I bought it! From a Tal perspective I definitely prefer it. [/quote] Bugger Any direction you can point me in to obtain a copy?

[quote name='4000' timestamp='1329335936' post='1540939'] I saw them in Manchester too (and met them both; she was absolutely lovely!). She was great, although her sound wasn't very clear from where I was; very toppy-bottomy and not much else. Ironically I saw Lenny Kravitz the following night and the low-tech bass there (Fenders - probably with flats - and Ashdown) was clear as a bell. Jeff was pretty much as at Ronnie's. FWIW I have footage of Jeff's full Crossroads set and I think she comes across much better on that than the Ronnie Scotts dvd. Her sound is much better IMO (not keen on the RS footage bass sound, no real substance) and she really plays her arse off. [/quote] I also noticed on some of the clips I played the other night that her tone was very toppy when when she played high up or very deep and boomy when played low and the middle being rather missing. I wonder if thats due to her bass as my Jazz is exactly the same. I might get the Crossroads DVD also now if its just as good if not better.

[quote name='4 Strings' timestamp='1329324329' post='1540694'] Don't forget, Linus27, it was JB's guitar playing that your cleverly worked original post declared your love! [/quote] HEHE oopps thats for spotting, must not give some of my true feelings away

[quote name='thepurpleblob' timestamp='1329304525' post='1540226'] I like the way she's actually quite geeky (for want of a better word). Too many successful female bass players are suspiciously supermodel-esque. [/quote] Yeah I like that, even in her facial expressions. Her clothes are also very 70's and retro with just a plain faded T-shirt. The geek look works for me

[quote name='jcater' timestamp='1329308375' post='1540316'] Will probably just decide on the night if i'm free. Thanks for the offer. All the best jeff [/quote] No worries.

[quote name='jcater' timestamp='1329307885' post='1540303'] Which band and date is it at the roundhouse? Might come along [/quote] My band is called Cow and we are supporting Paul Weller for three nights, Tuesday 20th March, Wednesday 21st March and Thursday 22nd March. I do have the option of two tickets per night so if you would like any then let me know but we have been told that each ticket will cost £10 which will go to charity.

[quote name='shizznit' timestamp='1329306688' post='1540265'] I would like to pair up my Neo 210 with a Neo 112 or even a 212, but I am cautious that the Reidmar won't operate at 2ohms. I feel that an email to Ralph @ EBS is on the cards! But, more cabs mean more kit to pack in the car so its defeating the object to have a portable rig and I might as well just take my HD350 and Proline 410. [/quote] To be honest, I don't think I need another Classic 112 as the gigs I am doing I think the Reidmar is so damn loud and powerful with my single 112 that it would be a waste. The test is going to be next month when I play The Roundhouse in Camden which is a 3,500 capacity venue. Ok, its an acoustic band and we will have PA support but I don't think I am going to need anymore. At the moment I just turn the Classic 112 on its side to give me a bit more headroom and jobs a carrot. Even if we had some kind of jazz style drummer, I think a single 112 would stil be ample. Saying that, I will get another Classic 112 to cover any future possibilities and they are good value for money but i really can't see me using it ever

[quote name='Bilbo' timestamp='1329306104' post='1540250'] Trouble with teenagers in bedrooms is they 'get' the issues around velocity and playing fast but there are so many of the great guitar players of yesteryear who have a depth to their playing that these new kids lack. Beck, Leslie West, Clem Clempson, Peter Green, BB King, Stevie Ray Vaughan, even Eddie Van Halen all had great sounds which they achieved using the right guitar, pick-ups, strings, amps and gain and the like. The new guys get it through 0.7 mm strings and dialling in a digital effect. They often lack the personality of the greats. Its no different in Jazz. There is a lot of faux Coltrane playing but it doesn't come anywhere near competing with the depth of Lester Young or COleman Hawkins etc. I guess the difference is that which exists between Art and craft. YOu can copy an original but it will always be a copy. [/quote] Another great post and I guess this is why I am not a big fan of certain pedals and amp simulating effects.

[quote name='4 Strings' timestamp='1329304286' post='1540217'] I know exactly what you mean- about the first bit anyway. If I had Tal's gig the reference to cack would relate more to my trousers. Yes, its Rainbow etc, so if there's an alternative reason then I'm a little happier. His technique is one of the examples of there being no right or wrong technique for these 'popular' instruments. His left hand wouldn't pass Grade 1, yet would you prefer to listen to a Grade 8 guitar student? Clapton is the same - although I'd take JB anyday. My opinion is that standards have risen immeasurably over the years, playing which made you 'God' in the 60s is now surpassed by teenagers in pub bands. Young Tal's technique is certainly an example for any student (and also those who spend time building up their finger and hand muscles!) [/quote] Great post.