project_c

I feel too nasty saying that, I've deleted my comment..

go to the local tip/recycling centre, the cardboard section will have all the boxes you need.

I can't comment on the 70s but for me and I think many others, especially Londoners it's not so much about the weight but about size, and the availability of space. Not just at home, but in our cars, in our cities and in the places we play. I've downsized everything. Replacing a large amp with a tiny one means I free up about half a room in my house. Makes a big difference. I drive a smaller car, I get public transport, I play in small spaces, giant amps made for an American lifestyle don't fit into the London way of things.

[quote name='PaulWarning' timestamp='1463214517' post='3049528'] I agree with most this, but they bother because they're better together than apart, and more popular, most of us like to relive our youth and at least they've tried to bring some new stuff out rather than doing endless greatest hits tours [/quote] True, i don't think it's that bad a tune all in all to be honest, it's more that the expectations are just too high for a band who made such a giant impact the first time round. Everything is going to seem contrived in comparison. I personally would have quite liked a funky drummer rehash though.

Difficult to bring something back that had relevance such a long time ago. When was their time? 88? or 89? That's forever ago, everything has changed so much since then. There's almost nothing they could have done that wouldn't have got ripped to shreds. Their choices were: 1. make a catchy tune that sounds like them and fun at gigs (that's what this is) 2. make a pastiche tune with the funky drummer break and get accused of rehashing everything 2. make a 'serious' tune and get accused of being pretentious and preachy 3. make some bloated dad rock like U2 and get ripped apart by everyone for being old 4. make something completely new, and get accused of not being as good as the old stuff. Difficult to do a comeback, I don't know why bands bother, it's kind of like a mid life crisis.

Thanks for the relies, I'll try the nail varnish, sounds good. with the screw on the split shaft, I don't think I can do that because I like the screws to be in a specific place (pointing at me) to show me when the volume is on full (it's a precision habit I inherited when the guy I bought my first p from had his set up like that), but the nail varnish should do the trick hopefully.

thanks. where do you actually put the varnish? inside? or at the head of the screw?

[quote name='ahpook' timestamp='1463056472' post='3048145'] Has to be done folks... [media]http://www.youtube.com/watch?v=byDiILrNbM4[/media] [/quote] it's only fair. [quote name='MoJo' timestamp='1463054715' post='3048116'] Are the pot shafts split or solid? [/quote] I just looked and it's split on one bass, solid on the other!

Sorry, couldn't resist that title, but this is a legit question - I have 2 precisions, and the knobs on both basses keep coming loose and falling off whenever I take them out in a gig bag. Both basses had new grub screws put in, because I thought that the problem was they were old and worn out, but it's still happening. Is this a normal thing? Is there a solution to this that everyone knows about except me? There's nothing major happening in transit, I have cables in the pocket of the bag, perhaps a pedal, nothing else, the basses travel with me in the front seat of the car, or on my back on London transport. Maybe it's nothing to do with them being in transit, not sure.

Cutting down on caffeine, getting more sleep and relaxation are all really good for easing tinnitus symptoms.

It's not so much the heat as the unnecessarily low frequencies. Sub bass frequencies below 50hz usually clip everything, even at low gain settings. Those frequencies are not necessary for you to get a decent tone, snd you can't hear anything below 30 anyway so either eq them out with a pedal or turn down the lows on your bass. One of the first rules of music production is to cut all those frequencies in everything you're recording / mixing because they add nothing but eat up headroom and clip everything.

Looks good to me, it's a passive PJ, slightly different vibe to the Elite. Jazz neck means it's going to feel very nice, I'd go for it if I was looking for a new bass.

That's a 4 string But yeah, very nice regardless of that, the design makes a lot more sense without a headstock. I do think the only reason Fodera put a headstock on that bass is to accommodate the d-tuner.

[quote name='eude' timestamp='1462459423' post='3043199'] I'm just going to leave this here... http://www.acguitars.co.uk/acg_admin/wordpress/portfolio/0241-border-reiver-5/ Eude [/quote] Not a short scale though. Medium maybe. Looks nice, sure.

Thanks for the replies, learning both and not treating them as separate entities makes the most sense, I know. It's just a lot of hard work when there's so much other stuff to practice.. [quote name='ambient' timestamp='1462465187' post='3043267'] I can read both, though I get slow with treble clef if I don't use it for a while. I recently did some scores that used alto too, that was a real pain. It's great to be able to sight-read treble clef in a jazz situation, you do quite often get given heads to play, sometimes in along with other instruments. These are usually in treble clef. [/quote] This is it, I end up playing the head on a lot of tunes but I have to memorise that stuff, I'm nowhere near a stage where I could tackle sight reading the head on a tune I haven't studied. It does open up a lot of music for you.

[quote name='BigRedX' timestamp='1462367748' post='3042423'] Fodera are down by the docks in Brooklyn. It's not exactly downtown Manhattan. [/quote] Are you sure? Have you seen Brooklyn prices recently?? The days of that area - or almost any other in and around nyc - being grimey and affordable are long gone. Brooklyn is probably the most gentrified neighborhood on earth. You need about 40k a year just to rent a reasonable sized office in the Dumbo area.

I think I know what the answer to this will be (learn both..), but it occurred to me recently that as someone studying and playing jazz, it may be more beneficial for me to focus on reading treble clef. Right now I can read bass clef, but it's very slow and nowhere near sight-reading standard, and I transcribe and learn everything by ear. This works fine with the use of editing and recording software, but at some point soon I do need to get my reading sorted. In terms of what i find most useful in a jazz context, it's always learning a melody and transcribing a solo - rarely a bass solo, mostly other instruments. There is a lot of material out there that helps with this in treble clef, real books, solo transcriptions etc. So I'm now thinking if I could have access to that stuff, it would help me more than bass clef, which I only really use to occasionally scribble out a walking line. (When I learn lines and solos, I don't write them down, I memorise them and record them). So for jazz players - would you advise against this and focus on bass clef? The reason why I need to focus on one or the other is just because of time limitations, just trying to figure out what's most useful for picking up and absorbing more language.

I actually got into playing bass because of pick players like Rob Wright of Nomeansno. I really wanted to use a pick for a long time, but I really hate the sound and feel of a pick scratching against the strings when it's not hitting them at the perfect angle, it's like nails on a chalkboard, I can't stand it. Just couldn't get into it. So I learnt fingerstyle instead and eventually got into different music along the way. But i wish I could play with one, I'm always a bit jealous of pick players with good technique.

I like the buzz but they do sound darker than Fenders. Similar to a P with Quarter Pounders.

I really like the way these look for some reason. I hated them when I first saw them but my eyes have got used to them, I kind of get the aesthetic now. I reckon they'll do ok with these basses once people get used to them. And that's coming from a Fender fan.

[quote name='Sibob' timestamp='1462352991' post='3042245'] I don't think so. It's basically a £9k bass delivered. I would wager that a LOT of us have multiple basses that total that worth, so it just takes someone who wants one bass for everything they do, who flies a lot for this to be more than worth it. Yes it's niche, but Fodera are hardly bothered with critical mass. Si [/quote] Plus shipping & tax. But in the context of living and working in NYC (or London for that matter), I understand the price.