Annoying Twit

[quote name='Bassassin' post='912421' date='Aug 2 2010, 01:34 AM']Here's a couple of nice Fujigen Jazzes - first of all a 79/80 CSL, like mine only blacker: [url="http://cgi.ebay.co.uk/ws/eBayISAPI.dll?ViewItem&item=220646803893"]http://cgi.ebay.co.uk/ws/eBayISAPI.dll?Vie...em=220646803893[/url] Highly recommended if it's anything like mine - it's an astonishingly good player & probably my favourite bass.[/quote] I put my standard lowball bid on it (not that I've ever won anything with my standard lowball), but still haven't even met the reserve.

[quote name='Marvin' post='907643' date='Jul 27 2010, 10:16 PM']So for £4 less the guy has 'Road Worn' it for a potential buyer. Bargain. [/quote] One of my local shops is selling them for £224, which is less than the guy on ebay was asking for 2nd hand. Very nice looking bass.

Made by Cort? If I remember correctly, a second hand Cort 6'er will be at least £350 or so.

Some time ago, maybe a year ago, there seemed to be a glut of VMJ fretless basses on ebay, and they were selling for low prices down to £120 or so. Not that I claim to know, but to me that seemed a lot of bass for the money.

[quote name='27 frets' post='909870' date='Jul 30 2010, 08:12 AM']The 8 string EEAADDGG neck suggestion sounds bizarre, not sure I could handle a neck that wide with up-down-up-down-up-down-up-down frets - would all feel a bit jagged! Would someone care to experiment?[/quote] Are you suggesting that I would post something bizarre on a web forum? Them's fighting words.

If it's a Shine, it's not a 980NT. If so, what would it be? [url="http://cgi.ebay.co.uk/Shine-980NT-Four-String-Active-bass-Guitar-Thru-Neck_W0QQitemZ250660043407QQcategoryZ4713QQcmdZViewItemQQ_trksidZp4340.m263QQ_trkparmsZalgo%3DDLSL%252BSIC%26its%3DI%26itu%3DUCI%252BIA%252BUA%252BIEW%252BFICS%252BUFI%26otn%3D8%26pmod%3D320566781799%252B320566781799%26po%3D%26ps%3D63%26clkid%3D6762282832303302407"]http://cgi.ebay.co.uk/Shine-980NT-Four-Str...282832303302407[/url]

Surely a better solution would be to have an eight string neck. Strings would be in pairs, each pair tuned the same, so E E A A D D G G. The frets would not extend across the whole of the neck, but would be present-absent-present-absent-present-absent-present-absent, so that one string of a pair has a fret underneath it, while the other string of the pair doesn't. The bridge would have to allow independent string height adjustments, so that the fretless strings would be at a lower height than the fretted strings. There would be some compromises to be made in terms of bending strings. The fretted strings couldn't really be bent as they'd go off the end of the short frets, so player would have to remember to use the fretless strings when they want to bend the note, but also to use a slide combined with the bend so as to avoid bending the fretless strings over the frets. To allow flexibility, it would probably be better to have a guitar trem system (two way bends) so that the trem can be used for bends that are tricky with the frets as they are. And if anyone has read this far and thinks I'm being serious, then I fart in your general direction.

[quote name='Bassassin' post='909483' date='Jul 29 2010, 05:34 PM']It's a Teisco - you'll find it bottom left on [url="http://www.mark-cole.co.uk/teisco/bass.htm"]this page[/url].[/quote] Teisco longhorns! (Lower right). I didn't know those existed.

[quote name='witterth' post='908896' date='Jul 29 2010, 09:04 AM']£250 is about right, oddly, for ebay. dont pay more I'd say[/quote] Ta. [quote]what are those extra 2 strings for any way? [/quote] Yes, I know this is rhetorical, but this is something I've only really understood recently, despite my first two basses bought while here being a 5 and a 6, with me only buying a 4 some months ago. A riff or groove that uses octaves already spans three strings. To go significantly above the higher root note while staying in "the box" requires the next string up, which means that all four strings are being used. Then, to move the groove to a different chord sends you jumping violently up and down the neck. While on a five or six string, you can move such a groove to a different chord sideways. There are definitely times when it works for me. Maybe I'll change my mind with more experience.

[url="http://cgi.ebay.co.uk/ws/eBayISAPI.dll?ViewItem&item=320566781799&ssPageName=STRK:MEWAX:IT"]http://cgi.ebay.co.uk/ws/eBayISAPI.dll?Vie...e=STRK:MEWAX:IT[/url] No bids @£250 starting price. Not that I'm going to buy it, but I'd like to know what people thing this bass is actually worth.

Jedson tele bass sells for £156 + p&p. That's more than I thought it would sell for. [url="http://cgi.ebay.co.uk/ws/eBayISAPI.dll?ViewItem&item=220639096066&ssPageName=STRK:MEWAX:IT"]http://cgi.ebay.co.uk/ws/eBayISAPI.dll?Vie...e=STRK:MEWAX:IT[/url]

I see no stripe here.

[quote name='Bilbo' post='908091' date='Jul 28 2010, 12:34 PM']So find some charts chock full of syncopation and work with them.[/quote] That may happen later, but I have a life history of not learning to play real instruments properly, and at this stage in my life, want to work within the parameters of my own foibles. My standard problem is to get sidetracked into something else and go around in circles before giving up again. Right now, for better or for worse, I'm sticking with bass guitar for dummies. But, I can slip in some syncopation into practice by (e.g. using a syncopated rhythm when playing two octave scales etc.) Yes, I realise that this isn't the most logical or best method for learning things, but I'm thinking that my best strategy is to avoid what has caused failure before, and as long as I keep going rather than getting frustrated and quitting, then that's about the best I can expect. Note that I don't have an expectation of really becoming a virtuoso or anywhere near it on a real instrument, I know that isn't going to happen. My real aim is to be able to do just enough of the multi-instrumentalist thing to record my own amateur original music. And hence when I bought a bass, I was thinking that as long as I can do root root root root, or root fifth root root fifth, then that in itself is enough. My aim is to find little, useful and reusable, things to add onto what I know. BTW: Once before when I was doing the keyboard thing, I obtained a book called [url="http://www.amazon.co.uk/Progressive-Bass-Licks-CD-Pack/dp/0947183728/ref=sr_1_1?ie=UTF8&s=books&qid=1280317645&sr=1-1"]"Progressive Bass Licks"[/url] and learned the licks on the keyboard, which considerably opened up they rhythmic tools I had for making up new bass patterns. I can clearly go get the same book again, and do the same. But, I don't want to do this right now. So, what I'm looking for is something very small and minor I can integrate into current practice, without risking being sidetracked too far.

[quote name='Low End Bee' post='908080' date='Jul 28 2010, 12:22 PM']So where's a good, non boring, place for a non reading, no theory, never had a lesson, self taught chap to start? I'm sure I must know some rules as I know when a note sounds 'wrong'. I'm interested to see what a bit of knowledge could do to my playing even at my advanced age.[/quote] I wouldn't advise on the bass playing part. But, I certainly find "Bass Guitar for Dummies" covers a lot of the standard theory as taught in a lot of musical contexts. In terms of general, non-bass specific, theory for pop music "Writing Music for Hit Songs" by Jai Josefs covers a lot of info that IMHO any musician would find useful.

[quote name='Bilbo' post='908069' date='Jul 28 2010, 12:13 PM']Learn to read music.[/quote] I can read music.

[quote name='Bilbo' post='908068' date='Jul 28 2010, 12:11 PM']It's Gonzobass's metaphor for 'some superficial party trick'. i.e students wanting to know a lick or trick that is of no intrinsic musical value but which [i]looks[/i] clever instead of learning something that is useful like a scale, arpeggio or chord.[/quote] Ah, thanks. On reading it, I did actually think it was a real riff and I was hoping for tab

In investigating why too much that I play on the bass sounds the same, I've already had good feedback about choice of scales and triad/chord tones on here. But, one thing I've worked out is that I don't naturally use syncopation sufficiently in grooves. To the point that as of a short while ago (not now), if I even tried to play the most basic (capitals implies note played on that beat) one AND two AND three AND four AND syncopated pattern that without considerable mental effort, I would fall into: ONE and TWO and THREE and FOUR and While I want to concentrate on other things right now, are there some simple syncopated patterns that I could add into other practice to improve my use of syncopation. E.g. I've been doing things like this (NB: ONE-ONE means play 16th notes) ONE-ONE and two AND three AND four and or, another basic one: ONE and two AND three and four and or: ONE and two AND THREE and four and (not very syncopated I'll admit). etc. Are there any patterns that people would recommend. No complicated syncopated triplet rhythms or too complicated 16th note rhythms this week please. Maybe later Though I'm making sure I include basic shuffle every day.

What is this "four finger tapping riff"?

I've been doing a lot of triad practice recently. The one I find most difficult is the major triad, e.g. [code]------------------------------------------------------------- ------------------7----------------------------------------- -------------4-7----7-4------------------------------------- -----------5------------5---repeat ad infinitum-----------[/code] For the major triad, I use my pinky to fret the 5th and the high octave. I find it difficult and clumsy, particularly since I have a bad habit of not fretting with my pinky vertically down onto the fretboard, but with the pinky at an angle so that the pad of the finger is fretting, not the tip. Sort of a semi-barre, but only one string. But, even though I have lots to work on and improve, it's currently looking promising for me that I'll sort that, and I'm starting to be able to play such triads faster, more smoothly, and in a more natural fashion. I.e. that it's starting to work for me. Is it a bad habit to use the fretting hand pinky for too many notes? Should I adopt, what I see as, a shortcut or different technique to not use the pinky like that? Would people advise me to avoid the same fret pinky use method?

I think it's interesting to compare the bass on Denny Laine's re-recorded version of "Silly Love Songs" and compare it to the original. [url="http://www.we7.com/#/song/Denny-Laine-of-Wings+/Silly-Love-Songs"]http://www.we7.com/#/song/Denny-Laine-of-W...illy-Love-Songs[/url]

The VMJs seem to keep their price very well. But I think about £180 is a more realistic second hand price.

2nd time around with a price of £225. I can buy a new one for about that. [url="http://cgi.ebay.co.uk/ws/eBayISAPI.dll?ViewItem&item=270611520150&ssPageName=STRK:MEWAX:VRI"]http://cgi.ebay.co.uk/ws/eBayISAPI.dll?Vie...=STRK:MEWAX:VRI[/url]

Ta. This SB series fretless isn't as good value as the one with a case that had a BIN of £250 some months ago. [url="http://cgi.ebay.co.uk/Aria-Pro-II-SB-series-Fretless-bass-guitar-very-rare-/190423987148?cmd=ViewItem&pt=UK_Musical_Instruments_Guitars_CV&hash=item2c562773cc"]http://cgi.ebay.co.uk/Aria-Pro-II-SB-serie...=item2c562773cc[/url]

Ibanez Roadster, P/J. I don't know much about the Roadsters. I presume it's a very nice bass, but I think it looks a bit ugly. [url="http://cgi.ebay.co.uk/Ibanez-RS924-Roadster-MIJ-/200501587502?cmd=ViewItem&pt=UK_Musical_Instruments_Guitars_CV&hash=item2eaed36e2e"]http://cgi.ebay.co.uk/Ibanez-RS924-Roadste...=item2eaed36e2e[/url]

I've never heard an acoustic bass played or sounding like this before.... [url="http://www.youtube.com/watch?v=3w22hOt7cFs"]http://www.youtube.com/watch?v=3w22hOt7cFs[/url]