ezbass

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.

Music Man use poplar for some of their solid finishes IIRC.

Do, he is held high esteem amongst our BC brethren.

Depends which band. In one, I’m front and centre grooving with the lead vocalist, in the other, I’m at the back letting others be the centre of attention.

Very much this.

Very well done, sir. At about 2:35 I felt like you were channeling Kate Bush era John Giblin, which is a good thing. 👏👏👏

I can see why Donal would say that, but it's not from his POV. I saw Rory with GMc (can't remember who was on drums) at the Hammersmith Odeon back in the 70s. Amazing energy, but the worst PA sound ever, the frequencies were nausea inducing. Still, I can say that I saw him.

I recommend ‘Riding Shotgun’ by Gerry McEvoy. It’s a well written, good read and an insight into working with Rory.

I’m not sure if someone has already alerted you to this, but if they haven’t, here’s a JV on our own for sale board

I did a side by side with a Fenders 50s reissue, a 44-64 and a Fender Roadworn. It was a close toss up between the RW and the Lakland. I went with the RW eventually, I think because there was nothing in it and the RW was cheaper (at least back then). They've gone up a bit now https://www.gak.co.uk/en/fender-road-worn-50s-precision-bass-2-colour-sunburst-maple/19354 (I realise that Biggar is a really long way from Brighton, but distance selling and all that).

There is also the Lakland Skyline 44-64 to consider if you can find one in the spec you're after.

As a Maruszczyk fanboy, I have to park this here https://www.public-peace.de/bass-guitars/maruszczyk/jake-l/jak-l-4str/941-jake-l-4p-human-nature-classic160508

Having been raised in a house that frequently featured big band music, it will always have a special place in my heart. Yesterday, I was introduced to a piano player and band leader I’d not heard of before by a Scott's Bass Lessons YT post on his influences, Michel Camilo. It doesn’t hurt that the band includes the legend that is Anthony Jackson, who's is killing it. Warning: jazz, loud shirt and massive talent content.

Cool bass and you'll be happy with the cobalts.

That was hard, well it was to pick just 3. Some were, "No!" straight away, but there was a lot of to-ing and fro-ing for me. I landed on the Lakland, Maruszczyk and Fodera Monarch eventually. If I could've had a 4th, it would've been the Yamaha Attitude. The Fender P and J relics were in the running for a good long time too and I quite liked the Smith. Obviously my ears are biased as I own a couple of Maruszczyks and had a Lakland 5502 about 4 years ago.