ezbass

Ah, well that makes even more sense. You even feel, to this day, that Ronnie Wood is not a real ‘part of the gang’ which is sad as he’s been there for decades.

I’m neither a Beatles or Stones fan (in fact, a lot of the 60s output leaves me cold and I’m old enough to have been around). However, Gimme Shelter is a great song song and a high water mark for me. Start Me Up is also rather fine, but I feel that this song rather defined the Stones’ sound from that point onwards. I think their fame is down to being around (and staying around) at a point when music and pop culture in general was going through a major upheaval. I know I’m in a minority here. As to there being just the three members, according to BW, perhaps that’s down to him having left and Brian Jones being dead. I wonder if he really felt the same way in the 60s and early 70s? I guess that’s the problem writing in hindsight. I bet it’s a good read though (unlike Keef, which I gave up on, despite having a lot of time for him).

Some like it high, but for some that’s a battle, so they set it low and try to avoid rattle. 😁 Having tried a few Fender Ps in my local GG the other day, I suspect the highness of the Fender specs is to allow for poor ex-factory set ups; some of them seemed ridiculously high to me.

Noooooo! 😱

Is it me or did @ped just ask how big someone’s knob is? 😂

Congrats to Fleabag on getting this bass and to Andyjr for yet another build. However, I must voice what I feel others might be thinking, what’s next? 🙂

Tried a Lakland PJ today that had a jazz width neck, absolutely formidable P pickup and played really smoothly. The J added a bit more upper mids, but the P soloed was ‘that’ sound. Nicer than the Fender Ps I tried.

That's 3 months under my belt, but it's starting to look very dodgy for April (once you start looking, buying doesn't tend to be far behind).

Excellent, no clash with the guitar show at the BDC. Nice planning folks.

Ye gods, that bottom end is monstrous! Me likey.

Step right this way, sir. First up, I agree that PP’s playing on I, Assassin does seem to channel the mighty Karn. Being stupid as a teenager is in the job description, man alive I did some stupid things that make me shudder now, but it’s a rite of passage. Anyway, the first 2 Paul Young albums (No Parlez and The Secret of Association) are pretty much obligatory, No Parlez is one the main reasons I picked up a bass in the first place. David Gilmour’s About Face features Pino, the track Murder certainly. Don Henley’s Sunset Grill from Building the Perfect Beast is another good one, as is New York Minute from End of the Innocence. Joan Armatrading’s The Shouting Stage is all Pino. He is on the first Go West album at least (Call Me is just brilliant). Sowing The Seeds Of Love by Tears For Fears is Pino again. Then you have his fretted playing with John Mayer (Continuum is my favourite), D’Angelo (Voodoo is meant to be brilliant if you like that genre) and of course The Who (not that I feel it suits him really, but those are some boots to fill). There are plenty of other artists who have employed his bass stylings, here’s a link to the Wiki page https://en.m.wikipedia.org/wiki/Pino_Palladino . Hope this gives you something to pick from.

You are spot on there. For me, the man can do no wrong. He even seems like a really nice, modest chap when interviewed. What a b*****d! 😂

Just been playing my fretted and fretless back to back, playing the same riffs (funk type stuff, no slides, no vibrato - boo 😉). I actually surprised myself how accurate I was on the fretless without looking, at least up to about the 10th fret/position (it actually 'felt' easier if I closed my eyes, no distractions). However, I like the occasional peek and check take the 'worry' out, even on fretted. Beyond the 12th fret/position, because it all gets a bit tight, I'm going to look and really listen, the upside of which really makes it look like I'm into what I'm playing. I should also point out that I'm no stranger to fretless, I've playing fretless almost as long as fretted - it's all Pino's fault. Speaking of whom, here is the Welsh wizard being unprofessional and almost looking continuously at his fingering 😱!

Don't you just hate it when that happens, it can really take the shine off of a good night? Many times I've been presented by a closure and/or roadworks on the M25 (M3, A3, etc), or the junction I need to get off at to get home. 😡

Played my second gig with my Tom Petty tribute band on Friday night. I was really not looking forward to it: it was a good distance away on traditionally very busy roads; there was no money (it had already been spent on various promotional activities); I’ve not been enjoying playing my parts at rehearsals; I had lost confidence in my BVs; I had strained my back in the morning and wasn’t looking forward to standing for all that time. It was an absolutely blinding gig! The pub was packed, locals said they’d never seen it so busy. I really got into some ‘rock and roll mic sharing’ action with a friend from another band who got up and did some Stevie Nicks action with us. Just goes to show how different the event can be over the anticipation.

Fast forward to 1 minute in for Scott’s take on intonation, which is followed by vibrato and slides. Yes it’s one of his free videos so there is an element of ‘click bait’ about the fail thing and he is advertising his Gary Willis course, but it is another insight from someone who can play and has learnt from GW himself.

Here’s my old modded Roadworn P.

Nice!

I do like a P P combination. It’s a shame you don’t see it offered more often as an option. However, having said that, the bass sound I’m really enjoying at the moment is Anthony Jackson’s Fodera. I’m assuming it’s Fodera’s own NYC pickup (made for them in conjunction with Seymour Duncan I believe). A bit of measuring puts it roughly in the bridge ‘half’ of a P pickup position (if you see what I mean).

Indeed, well said @Frank Blank 👏👏👏

That is very cool looking. Nice score.

I occasionally look at my left hand when playing fretted, never mind fretless, but I’m not glued to it with either flavour. Two extremely famous and proficient fretless players had/have lined fretboards (Jaco and Gary Willis), you can bet you life that they looked/look. Ultimately, you should be able to hear if it’s right, but I’ll take all the help I can get to make it sound correct.

Agreed. I had a VM4 too and I found it did the P thing very nicely. Although there was a great big MM pickup on it, its positioning meant that it sounded like a big J bridge pickup (not a bad thing) rather than a ‘Ray (again, not a bad thing). A really well made bass that eventually, for me at least, lacked a bit of character, which might have been down to the pre-amp.

The verse notes are: A, F#, D & E. The ‘chorus’ is A, G , D, E (this is obviously over simplified). Yep, that tab is all kinds of wrong.

@devinebass Thanks for taking the time to do that video, Scott, I even watched it right up to the end. Good work: with explanation of the whys and wherefores of charges and YT generally; keeping it together and not going on a rant; keeping it friendly and often amusing (for me anyway). Pino would be a massive score for SBL, but if you look at his low interview count and how diffident he is when rarely on camera, I think you’ve got your work cut out, but I remain hopeful.