Roger2611

Where's Captain Kirk? Splodgenessabounds! Do you really want to hurt me?

I have a music computer in the spare room, used only for recording and rehearsing with, I use the media player and as one of the columns I use the play counter and another the track length....so today I am playing through the set for tonight and looking at the ever escalating play count....so I though "just how long have I rehearsed tonight's set?".....the answer 9.45 days of solid playing....and this takes into account some newer numbers that have not been rehearsed nearly as much...if we were doing our most experienced set tonight the total rehearsal time for me would have been 18 days give or take a couple of hours......I should get out more!!

Start, The Jam, starts in G so hopefully that's the key....it shows my lack of musical theory doesn't it!

Our guitarist uses a Les Paul, it is perfect for a rock / pop covers band, I used to play rhythm guitar in the band before shifting back to bass, so I used either a strat or a Gretsch with P90's so as to sit in a different sound area to the Les Paul, it worked perfectly. Recording wise, the Les Paul is my go to guitar...it just works for me. I think it is with good reason that it is one of the most iconic guitars ever built

[quote name='James Nada' timestamp='1439309668' post='2841790'] Great post. I'm in awe of both the build and the backstage blagging. [/quote] I have to agree....cracking job on both accounts

I miss St Ives so much, it's been too many years since we last went down there, next time we get an actual summer we will be back down there like a shot

I often use the drum machine to practice with, I use the preset rhythms and just play along to the different grooves, I find it quite inspiring

My avatar photo is a 50's classic Precision (or was) I have owned a few but only kept this one, it does have a pretty chunky neck profile but nothing excessive, mine has a beautifully rounded feel to it where it meets the fretboard, the two others I owned didn't, they had a really hard feeling edge which, I really didn't like, they were disposed of quite quickly (the black one is a first year of production bass and was the one the sales rep was demoing around the dealers so whether these is anything special in that neck profile, I don't know) I junked the pick up a good few years ago and replaced it with a Lindy Fralin one which is much nicer, I always hated the reverse tuners as they were really stiff and never got any easier, they have been junked and replaced with a set of Grover's, the 50's style bridge saddles kept lowering themselves mid gig so that has been replaced with a Gotoh unit, I also changed the pick guard to a black one! It is my favourite Precision by a country mile but it has been heavily modified, but you have to have a good starting point to work from. I also have a Roadworn Precision which as Cameltoe rightly says is a totally different feeling instrument, I simply cannot fault it, I won't be changing anything on that bass

It looks a cracking deal, if I were a lot closer I would definitely be persuading the good lady wife exactly why I need another bass!

Cool, I like it...don't want it, but I like it

We have used it, it got us all the way to Hugh Stevens at Radio 1 (which surprised us being as we are all heading rapidly for 50 years old!) well worth a go if you ask me

We play the Buzzcocks Ever Fallen in Love, in the section before the last chorus I step forward, the singer announces my bass solo, I raise the neck to the sky and play one one stunningly for 20 seconds or so to critical huge acclaim...bring on the bass solo if you ask me On a serious note listening to a good solo like Everybody Dance or The Aeroplane song I think sounds great...what about Pino's intro to Wherever I lay My Hat, it is really a solo and makes the song....done right I have no objections to a bass solo

From my understanding the wood used years ago was naturally dried out for far longer than it is today, again prime tone woods are now in short supply and are reserved for custom shop instruments but were freely available back then. A lot of people will also say an instrument gets better with age, and finally there is a finite amount of 59 Precisions, they are not making anymore, but the number of people who will want to own one will only go up.....so to counter my arguments a lot of people now view today's instruments as built to tolerances that manufacturers in the 50 / 60 / 70's could only dream of, many experts reckon that a good instrument built now will be better in 50 years time than these vintage examples around today...except those vintage ones from today will be another 50 years older! I played a 63 Precision some years back, it was stunning, simply the nicest Precision I have ever played, I also played a genuine 57 Precision a couple of years before than and hated it, find a good vintage guitar / bass and you will understand what the fuss is about, find a bad one and no doubt it will just add another owner to a never ending list of sales on it

I have entered our band...let's see what happens!

I really "need" a proper Gibson Les Paul R9, keep thinking about shifting my Warwick to buy one....but I don't even play guitar in a band anymore and the Tokai I have is fantastic...so it isn't going to happen anytime soon! Also still need to scratch the itch of a Gretsch White Falcon at some point....but again sadly that is not likely to happen anytime soon

Excellent, I just showed it to the good lady wife with a gentle reminder that I am 50 next year!

[quote name='mcnach' timestamp='1438445715' post='2834588'] how would you describe the difference between the Classic 50's original pickup and the Lindy Fralin? [/quote] I would say the Fralin offers a more compressed punchy sound, it still has all the sound range of the original but is tighter sounding

I have a SD quarterpounder and it is a good pickup but I agree with the above that it doesn't offer a traditional Precision sound, it is quite tight sounding and very aggressive (in my bass anyway) I have a Lindy Fralin in my 50's Classic, both bands I play in agree that this is their favourite sounding bass, again it is quite tight sounding but offers a more rounded sound....my Roadworn 50's classic has the standard Fender pickup in place and that sounds great as well

I think it's fair to say "there can be no such thing as too many basses" only, not enough room to store them...so the answer is get a larger house then your collection will look smaller and can justifiably be added to

I have to wonder why this seller keeps listing this crap, everything they seem to offer is either total crap or massively overpriced, usually both, I would never buy from them

[quote name='RockfordStone' timestamp='1438079791' post='2831393'] i've got one of these, i wouldn't use it for a standard band situation, but its fun to record with. that said, im not in love with it, and would trade it in if something else came up [/quote] Totally agree, mine just hangs on the wall whilst I try and work out exactly what I can use it for, I did a recording with it recently and it sat in the mix ok but it was more a case of getting use out of it rather than the track really needing it...so anyone want to enlighten us as to how to get the best out of the thing?

Ampeg B1E 150w into a David Eden 1x10 volume kept pretty low but it sounds nice

They are both very good amps, I had the TC amp as a back up to the Mark Bass but didn't really take to it so sold it on...not sure why....I have heard it said that Mark Bass colours your bass sound more that the TC, maybe that just gives me a sound I prefer

[quote name='HowieBass' timestamp='1437865224' post='2829679'] If you had a lined board and it WAS correctly intonated wouldn't it be in tune right across the lines though? The side dots help me, I am pretty good with perspective so I know where a fret/fret line would be in relation to the side dot and it helps me get pretty close to the right note - yes you can slide when playing slowly and I know that part of the sound of a fretless is that it's not always bang on exactly in tune hence the character of the sound, slides or no slides. Trying to do it by eye doesn't work for you but please don't claim it 'will never work' because I don't believe that's true - shouldn't we say each to their own? If a bass has lines or side dots you can just not look at them if you choose to play solely by ear but others find them helpful. [/quote] Sorry, just offering an opinion based on years of playing fretless!

The problem with trying to play by eye on a fretless is that as you look down on the strings it gives you the wrong perspective, I have never played a fretless where I can look down at the dot and find the guitar is in tune across all 4/5 strings, the key to a fretless is playing by ear, you slide into the correct position, trying to do it by eye will never work, I have always had unlined finger boards, I have played a few lined fretlesses and found the fret lines helped a bit but playing by ear is the key