Happy Jack

Gotta love the Rasta playing the spoons in the background ...

Good luck getting Vincent Price to do the voiceover for your GCSE Thriller project ...

Agreed. I'd struggle to play most of my favourite basslines on that thing.

I assume you already have an amp? If so, are you happy with it? The 'perfect' solution (in so far as one exists) is a 2-channel amp, with each bass using its own channel and its own EQ. Not cheap, but a complete answer.

Strewth mate! How did you manage to go through seven sets of strings on one DB? I've had the same Silver Slaps on mine for six years ... they were on there when I bought it from Clarky.

You'll never master the fifth string, Ralph. Quit while you're behind and just send the bass to me ...

I've always thought that there is a generic, "family" resemblance between a number of bass marques that were around in the early 80s, close enough that I always felt that there was a lot of borrowing going on. I agree that there's a long list of detailed differences between the Bass Collection and the SR range, yet the overall look & feel is remarkably similar. There was also a range by (I think) Yamaha at the same time, plus of course the early Tune basses, and I'm sure there were others I haven't mentioned. My guess would be that someone came up with an overall design that worked really well and which wasn't yet another Fender clone, and a bunch of manufacturers fell into line behind it. All these basses were (I believe) lighter than their Fender equivalents, the bar being set lower by Fender's back-crushing output in the late 70s. I wonder if this has anything to do with the pro-Fender (and others) propaganda that then started to emerge about how heavier basses always and automatically sounded better than lighter basses.

Dan Bowskill wondered why there wasn't more love for the £829 Class D head ...

I suppose it's hard to imagine why anyone would spend their time doing something they don't enjoy just because they're being paid to do it. No ... wait a minute ...

It probably helps if you clean the case occasionally.

Active? I thought the SB301 was the only passive one?

Have you considered a fanned fretless, preferably with a torsal twist?

That 736 would probably have played better if he hadn't been wearing that silly ring.

The bass player is Richie Castellano, who currently plays with Blue Oyster Cult.

Norman Stanley Fletcher, you are an habitual musician ...

Bwahahahahahahahaha!!! How many people can leave a Forum and still be getting Feedback 2.5 years later? Come back Clarky ... you know it makes sense.

Really? I've played mainly fives for nearly 10 years and I still do it.

Pah! Kids of today, eh?

Doh!

But most Brits of our generation grew up listening to Hofners ...

Broadly speaking, lines on a fretless are pointless - you can't see them when you're playing, can you? If you can, try and have a go on a fretless with "fret-end markers" like this: All the comfort blanket of a fretted bass, but to the audience (and the rest of the band) you look like a fretless-playing God. If you can't find one with the markers already in place, any decent luthier will insert them into the unlined fretless of your choice for very little money.

In country music, women and forefront are two words that really go together ...