faceman

My jazzy trio are giving Jamie Cullum's Frontin' cover a go and I was wondering if anyone had played it and had some chords, bass transcriptions of sorts? I'm going to give it a go by ear in a bit You can find a live version here - [url="http://www.youtube.com/watch?v=GyHyR5wopy4"]http://www.youtube.com/watch?v=GyHyR5wopy4[/url]. It sort of feels that it is just a chord progression with the bassist improvising over it?

I love the tone I get with my Little Mark II and Ampeg 15" cab. It's got a deep thick low end but it's not mushy at all and cuts through well. With my Rickenbacker, I play with a little mid boost and a touch bass and leave the rest flat and it's a fantastic rock tone with both pickups on. Cutting to the bridge gives a Jazz-esque growl and the neck gives a smooth double-bass-ish tone. Yet to play the StingRay for a gig but I suspect a little mid-boost as I like to get that presence. My amplification seems to make anything sound good!

I have literally just sold mine of these for £550! Not sure I'd pay that much but it's a very nice Jazz bass

Good idea Rich, I await with interest! After playing or owning a Lakland Daryl Jones, Fender Geddy Lee, Fender 08 American Jazz and my most recent Fender CIJ '75 Jazz, I'll be interested to see what others thing. The next Jazz I'd like to try some day is the Marcus Miller. i've played one the shop and it felt miles better than a Geddy Lee. Stick in a Sadowsky or East pre-amp and you have yourself a Super Jazz right there

So the second rehearsal and we were told in advance to look at Another Day, I'll Cover You and You'll See. Then we got an email the night before changing it to Tango Maureen, Santa Fe and Another Day. Not that any of them are massively hard but I only had a few hours. I got my mate around and we almost worked out Santa Fe so hopefully we can give it a go sometime soon in practise. The riff itself (as pointed out) appears several times so it needs to be nailed. So in the rehearsal we started off with Another Day. Mostly this seemed straight forward but there is a lot of fills and scales done in the song. I wasn't able to sight read where the root notes were so I really did struggle. The MD had to stop several times to ask say I was wrong but we got through the song. I'm going to have to sit down and work out properly. I felt very embarrassed because I kept getting lost. I dislike this number I will say now! Tango Maureen was easy with various chords alternating to its third (e.g. C -> G). We didn't do the whole song because it was easy but I managed to nail most of it. Then we took a look at I Should Tell You which sits in between the two parts of La Vie Boheme and has a beautiful Rhodes/EP sound. I managed to sight read all of this pretty much straight off and was very impressed. In my mind, I'm still using F-A-C-E for the spaces in the bass clef and then working out, I also know the top line is A and the bottom is G and things like that so it's getting much better. I still can't do a song straight off but it's getting much better. There's loads of 'little' songs that I doubt we will cover much as they are just filler so I think this is where the sight reading will come into play. So although I wasn't great in places, another successful rehearsal. We ran through the title track and Light My Candle from last week without trouble. And next week we are taking a look at two big numbers - Seasons of Love, La Vie Boheme and Christmas Bells. At least I'll have a bit more time to give them a practise!

So we've had two rehearsals but I've been so busy applying for jobs (eek!) and revising that I haven't had time so here's the summary of the first practise... I wasn't told in advance of what songs we were going to do so decided to practise the biggest ones. Not knowing the musical, I took a guess. I took a long look at La Vie Boheme (it has a nice bass part that doesn't alternate much and is in-sync with the piano), the title track and a few others. We did do title track which is thankfully quite simple and although I hadn't made it all the way through the song, I picked up the rest quickly from the band and reading. So far I've gone gone through and written the relevant chord or first note in the bar to make sure what I play is right. 'Light My Candle' was also a single four-chord song that has some interesting fills. I managed to get this mostly straight off. An observation was that the MD tended to do much referral to pauses and bar numbers, whereas my other band we work in 'rounds' or riffs In terms of sight reading, I had to completely do one track without practise - 'Out Tonight'. Thankfully pretty easy, as the bass only comes in during the choruses. At first I read an F# 8ths as an F and it sounded wrong and the MD asked if I was ok after it obviously sounded wrong. Taking a longer glance I noticed and got it the next time. During a break, he sat we down and we talked about Santa Fe riff and the associated apearances and said we'd give it a break till after exams so I had time to practise it. He showed me some shortcuts from playing it. I had mistakingly found a tab and was using this prior to the music arriving and shocking, it was wrong. So all went well! The drummer is top quality and I think between us we have a pretty good rhythm section. The keyboardist I already know very well, as he's from all my other bands. The two guitarists I've both worked with before and they are both excellent! His Strat matches my StingRay very nicely Onto week two now and this is where the fun starts...

Playing the StingRay feels great and I just love the feel of the neck of it! However, it is harder to stretch those distances because of my hand size. They aren't particularly small, nor particular big. The Jazz and StingRay are polar opposites. I'd say overall the StingRay does feel nicer (the Jazz is a bit too glossy for me) but no I couldn't do very fast pentatonic scales (although I'm not sure when that is actually useful).

Sorry to bombard with another vs. thread but thought your input might be interesting. I've got two basses sitting behind me at the moment and one is staying, one is going, the bank says so. I'm 90% sure that the '75 CIJ Reissue Jazz bass is going to be heading off to 6stringbass tomorrow as we are doing a meet up in Yorkshire for him to buy it and I would be keeping my '83 StingRay. However, I've been practising a tune today from Rent and the size of the neck of the StingRay has hit me. The Jazz is so much smaller in comparison and for this particular tune, it's got a very quick line that is so much easier to do on the Jazz than the 'Ray. I got a mate of mine along to have a play and he said personally, he'd choose the Jazz as he needs that manoeuvrability to do quick runs and stretches across four frets. However, I pointed out the tone of the 'Ray is so much better, it will cut through anything, it's deep and I love it. I'm probably going to be able to crack this line on the Ray eventually but the point is that it seems to restrict my playing as my hands are quite small and it does have a big neck! So what do you think is more important? An amazing deep tone or a bass you can run around on and tackle any lines. Much bass love

I've played the 'they look the same' game before with going from a Sunburst P to a Vintage Antique Red Sunburst Jazz, from a black Fender Jazz to a blue Darryl Jones. I need to figure out of a Squier Precision Red --> 83 MusicMan Stingray. Hmm this might be hard

Here's one of my bands covering Enola Gay... and playing our original Bayou Town! Even though I usually player finger style, here are the two pick songs in our set I play. What the song needs and all that

For an upcoming gig, I need to learn this baby for a month or so. It sounds sound too hard but the interplay between the Wurlitzer and bass is important so I was wondering if anyone had a full transcription, scores or tab are fine with me. All the ones online from Guitar Pro are incorrect. I could learn it by ear but this would save so much time Much bass love!

[quote name='Ou7shined' post='844101' date='May 21 2010, 01:20 PM']Excluding different pup combos, yes but there may be minuscule differences. I had a MM p/g on my SUB - it was a 99.999% fit.[/quote] The screw holes don't 100% meetup but it basically still fits! So, is the lack of fit due to this strange bridge then? And I do need the big screws but don't need the brushes because they still appear to be in the body, yes? I'll let you know what deal I agree with the fellow on the EB forums. I've learnt so much about MM basses in the past few days!

Sounds excellent, I'm hoping to see the SCB at the North Sea Jazz Festival

If you look at the past photos when I took the bridge apart, you can see the pickguard lies on top of the bridge slightly and in the latter photos, one of the screw holes is covered up by the bridge. Are the MM pick guards always the same fit and size?

Attached are photos of the body without the pick guard. if you look at the body, the pickup hasn't been moved but if you look at the closer photo, you can see the bottom hole where the pick guard should screw into. I'm sure the bridge is either misaligned or plain wrong. Also I've compared the old pickguard and the one I bought. The old one has been cut across the bottom to fit it seams. It's pretty good bridge, I'm not massively fussed about changing it However, the offer has come up for a proper pre-EB MM one so i think I'd be stupid not to take it!

Yeah sorry I was going to say, because it's a late pre-EB one it isn't body through. Hopefully this bridge will be decent and hopefully be ideal! It looks like it still has the brushings for the big screws. One step closer to an 'original' bass

I've just taken the bridge apart and as you would expect, it looks every so lovely underneath there Anyway, some photos are attached so would I be able to drop in a this bridge or not? Also on another photo you can see the bridge in depth as it is now as well as how the pick guard hits the mounting plate. Would this be a problem with the proper MM bridge? I'm wondering if it is the bridge that is too big, or the pick guard?

Talk about luck! I did a post on the EB forum and fellow has emailed me and offered me a pre-EB bridge for $150 with a brand new mute assembly. He said it's got hollow saddles so it's pre-EB but not through-body stringing, which is what I need! It's used with some scratches and a little rust in some areas but overall very good condition for its age. It has the mute screws but not the mute spring assembly. Said he has an assembly he has one he can add on to it the deal as well. Thoughts? He has said he would throw in a new set of the two large screws that are on either side of the saddles but said I would have to check your bass to see if the original bushings for those two screws are still in the bass. What are these?!

Ah this sounds like a fun search I'll still contact them and see how I get along but it sounds like it won't be hopefully. It's working fine so I'm happy for the moment.

In terms of functionality, the bridge is perfect, it's simply look, that stupid plate and the mutes! I didn't realise there was a problem with getting EB spare parts. Thought it was like Fender were you can just get them. I'd probably even take a standard MM bridge but not sure I want to whack on a third party one..