miles'tone

[quote name='njr911' timestamp='1373899649' post='2142848'] To go along with her talent she's also much easier on the eye than Mani *sorry Mani if you're reading [/quote] Aw, poor Mani. You'll have him sobbing into his toby jugs with that one. (Doubt he'd argue with you there though!)

A series/parallel switch is an absolute must for all Jazz bass heads imho. Why compromise? Be both. In a band setting a Jazz in series gets there imo (Precision like, beefy) The Jazz tone isn't for me personally, so I solely play soul-y P-bass now

Fair play to her then, what a gig to walk into eh? I've read that she worked in the past with Scream's guitarist Barrie Cadogan at Vintage and Rare Guitars on Denmark St, so there's her in. (Wonder if she got her stunning vintage P-bass working there - perks of the job? )

Just been watching Primal Scream's full Glastonbury set which I thought was great, Simone Butler is doing a brill job at filling Mani's shoes full time. She a good fit for the band and seems to be taking it all in her stride, very pro. But where has she come from? Anyone know of any other bands she's been in or work she's done? She's also been gigging one of the coolest looking Precisions I've ever seen. Here's the Glasto set... http://www.youtube.com/watch?v=y0dFLjWJnr0

I have the Golden Slaps (same string, different colour) on my upright and they have a much better tone live through my Shadow pickup than the Super Silvers I used to play did. The Super Silvers were louder acoustically but the Golden Slaps are indeed fantastic for pizz and work really well amped up. Very warm and trad sounding. Hope this helps.

I've read Ghosts and Ballyhoo and I have to say it's the most original and well written memoir I've read to date. It's funny really as I've read scores of them, usually by people who are more of a household name, yet the best one is written by the least famous of them all. There's something in that I'm sure - being able to live life under the 'fame' radar leads to a much more varied and interesting life (there's hope for us all there!) and Tom Wictor has led a very interesting life indeed. I love his writing style, it's very addictive. I took this book on hols last month and couldn't put it down, up reading half the night. The Scott Thunes interludes are a masterstroke in my opinion. Speaking of Mr. Thunes, anyone here who's never read Wictor's other music-centric book "In Cold Sweat - Interviews With Really Scary Musicians" really should as that's a great read too, so insightful as well as entertaining - I learned a lot about music from it among other things - mostly that I'm glad I'm not in the music business!

This looks good for a busk http://www.amazon.co.uk/gp/aw/d/B0039OQD5U/ref=pd_aw_sbs_MI_6?pi=SL500_SS115

I wouldn't mind a bass chipped with realistic on board amp/cabinet modelling, one extra rotary knob with a click for each choice. It would have to add hardly any extra weight to the instrument and be charged similarly to the East P-Retro. Oh and a push/pull option for clean bypass. Give me THAT future.

If you can, start with Labella Deep Talkin Flats as they seem to be the holy grail for a P-bass (not tried them yet myself but I've researched this one to death - gonna try them finally when my fretless is finished) In my personal experience I have used Roto 77's, TI's, Chromes, Elites and Fender CL's. I have tried the Lakland JO flats on someone else's bass once and they were lovely. Made by GHS for Lakland I believe. Not tried the GHS Precision flats but they are very well thought of too for a P-bass from all the reviews I've read. All the flats I've tried have been great but very different from each other. My favourites are the Fender CL's. Nice and growly when new and beautiful sounding when super played in. They don't really die as some flats do and I like that. Suitable for any style of music. Great for my music, but for you? There is no definitive answer. You're just going to have to have fun experimenting! Best of luck, Si.

Cool, I'm interested to hear the difference myself. Bet you'll give your Jazz some serious balls and output if you do hardwire those 84's in series!

[quote name='neepheid' timestamp='1373364078' post='2136624'] Is it a boxset if there's no box? [/quote] No, it's a mindset.

Bollocks, they've cottoned on. £84.99 now. I snoozed, I lost!

[quote name='Bilbo' timestamp='1373294704' post='2135764'] Concepts for Bass Soloing by Marc Johnson and Chuck Sher [/quote] Wow, that book looks amazing! (I love the Bill Evans connection ) Thank you Bilbo, I've never heard of that one before. Essential, it seems.

Not that I'm an expert by any strech of the imagination about this kind of thing AT All, I am interested in getting better at soloing myself. Alot of the advice I have read on the subject suggests starting by learning the melody for the tune. At least this way it gives the listeners a reference point that makes sense to them, and by at least hinting at it, then you can start altering the phrasing of the melody before you take complete liberties with the tune! Makes sense I hope, and I can't wait to get into this idea myself! (It's an "in" at least).

Yeehaw! Cool track man, band's got a good sound there. Congrats.

It's a USA Highway One Jazz. You way well find a Badass II bridge under that cover. Don't worry, you haven't been diddled!

Papa was a rolling stone - The Temptations. James Jamerson grooving with not much at all. Lock in with him there, get in the pocket as it'll help anyone's feel that one!

Maybe a series/parallel switch? Cheap mod and in series mode it will beef things up nicely, getting into P territory. Otherwise, SD Basslines Antiquity II are fantastic pickups. The bridge pickup in isolation has alot of warmth and output. Very usable.

This stuff rocks, stronger than wood so your neck won't bow horribly when you string it up (the frets did alot to keep the neck flat) and you can sand it too. Just make sure your neck is flat before you put it in the cleaned out fret slots. (tighten the truss rod, but don't overtighten it.) There are good youtube vids out there on this topic Good luck and have fun! http://www.amazon.co.uk/gp/aw/ol/B003ZUXQQC/ref=mw_dp_olp?qid=1372824247&sr=1-1

[quote name='xilddx' timestamp='1372937316' post='2131804'] Youth is wasted on the young [/quote] [quote name='bob_pickard' timestamp='1373010623' post='2132663'] and money is wasted on the old [/quote] Well now I'm old, I have no money to waste as I wasted it all when I was young getting wasted in my youth.......and another thing, erm, what was I saying? And why did I walk into this room in the first place? Erm, 42?

Well, I'm still on my quest and I've come across this corker called "Legs" by a band called Massacre - Bill Laswell on bass. It's rather nutty. I love it. I do think the comedic capabilities of a fretless bass often gets a bit lost with 'serious' musicianship. A bit like the trombone. Parp! I fear this is more the path I'll be walking when I eventually get one sorted. http://www.youtube.com/watch?v=ETxtSbfpjHE

For me personally I used my kickback combo pointing up at our drummer as our monitor just so me and him could lock in (7 piece band with fiddles and flute and a trumpet plus the usual used to get pretty noisy up there). I have gigged with just my Sansamp before ok with a three-piece.

[quote name='Dave Vader' timestamp='1372841110' post='2130467'] Mine was a maple neck with maple inlays (I also filled the position dots with maple veneer to try and get an unlined look. As you can see, it didn't really work. But it is perfectly playable, and looks just fine. [/quote] Yes that's a very nice job! Dave's looking very sexy there The cream pup covers look ace with the black. Dimarzio's?