leschirons

Most bassplayers will probably admit to becoming one by default having started out on a different instrument when young. I think it's great to have an insight into other instruments (drums and guitar in my case) it certainly makes you more musically aware in band situations although possibly more critical of the other members playing those other instruments too. I know it does with me.

High Score has hit the nail on the head. I have been to a couple of mate's studio / rehearsal rooms here and the problem is always humidity (too much water vapour in this case as they both use oil heaters) They've found amps that are wet to the touch etc. Especially if, when you go in, you up the heat for comfort. A thermostatic heater is good for temperature control but I have also bought a fairly cheap dehumidifier and have no such problems. You'd be suprised how much water I have to empty out each week but it does the job. You can pick up a reasonable unit for about £40.

That's a bummer but I'd say you're better off without them. I assume they're not professional so, in that case, at least 50% of the reason for being in a band should be the enjoyment of being with the other musicians. If they can pull a stunt like that (Ritchie Blackmore, Rod Evans and Nick Simper spring to mind here) You don't need it. Find a band where you all enjoy the music, each other's company and put people first. Fair enough if you're about to be signed to Sony or constantly playing £3,000 gigs but I assume that's not the case here. Be interesting if you find out that they'd found another bassist before you got pushed out.

Stick to the UK for buying at the moment. Although I had no problems getting my bass from Bass Central (great company to deal with) I did get caught for the full TVA (VAT) and import duty. The bass would have been about a grand dearer here or in the UK at that time so it was worth it to me then, but it's still a bitter pill to swallow when you have to give the delivery driver another £500. I'd asked Bass Central at the time of purchase, what happens if it gets damaged and was told, although there is insurance in place for that reason, it would still have to be sent back to them. So, until the £ recovers bigtime against the $, stick to the UK.

Were you playing for free as a wedding pressent, or was it a paid gig? If it was a payer, you've made the right decision to pull out and maybe you could help her find another covers band for the day. If it's a freebee, it's more difficult as she now has to fund a band and weddings are expensive enough already.

[quote name='Happy Jack' post='501755' date='May 30 2009, 03:37 PM']I'm impressed with how easy it is to lower the action. All you need is a tenon saw, a clamp, a selection of files, some sandpaper in different grades, a paintbrush and some varnish. Why did Fender never come up with something like this?[/quote] They did, it's called a Precision.

Although I use a Markbass 103H combo which I'm happy with as it sounds great and is seriously light, I keep drifting back toward thinking about another Eden. There's a Metro and 2x10 ext cab on the forum (or was a couple of days ago) for next to nothing. That's a pro rig. I sort of miss mine a bit.

I would imagine that a spirit based stain would be easier to apply on an old oiled surface. Any oil that wasn't sanded out would repel any water based product.

[quote name='metaltime' post='499477' date='May 27 2009, 11:34 PM']One thing i have realised about working out bass lines is it is not magic the notes are there and its just a case of finding the right ones. Usually i start with the first note of a riff or bar and i play all the notes till i find what i think it is. Then for the next note i work through scales or chromatically to find the right interval and continue this way. Once ive got the riff i can then usually tell if its in the right key so i move it around and try different fingerings. It will take a while but i have found the more you do it the better you get and it really helps your playing. This may be a slow way but it works well for me especially trying different intervals till i find which it is. I hope this answer dosnt sound patronising its just the way i do it. Good luck mate and if i/we can help let us know.[/quote] Doesn't sound patronising at all. I think you've hit the nail on the head by sort of pointing out that it works for you. Reading all the other replies, it becomes obvious the everyone has their own slant on transcribing. I don't think any particular method is any better than any other. Some may advance your theory a bit more than others but the all important thing is to nail the bassline ain't it?

Having now read all the replies on this topic, I think that someone's perception of who makes the perfect "can do no wrong" bassplayer is down to many issues., ie, what you like or look for in a player, if he or she has displayed negative attitude in interviews, been happy to talk to fans after a gig or even been an absolute pompous twat when seen at a clinic. I think the reason James Jamerson is highly regarded as a CDNW player is partly down to the era he was playing and on which records although, in my opinion, he was a seriously cool bassist. I don't consider this topic to be moribund either. Discussion is what this forum is all about and by definition, it is not on the point of death as is apparrent by the number of replies.

Can't say I've ever noticed anyone slagging off one of my faves. Leland Sklar. A grand ole man of bass.

[quote name='Dams' post='493083' date='May 20 2009, 09:59 AM']A côté de Limoges (87). I forgot to specify that I live near Limoges, in the center of France ![/quote] J'habite en Creuse (23) Hi, and welcome. Seems we play the same music at the moment. Keith

A guy I know here has one of the guitars. A Hagstrom-y looking type of 335. Not bad build quality and looks lovely but tends to go out of tune. However, for £225, he doesn't grumble.

[quote name='jakesbass' post='497473' date='May 25 2009, 06:23 PM']I think it depends on your approach, if you want to play with a high proportion of improvisation in your parts then fretboard knowledge is useful... If you want to learn parts by rote and nail them then a knowledge (of the note names) is irrelevant... I would say, however, that the knowledge that is most important is an aural one, theoretical (or note name) knowledge helps when explaining to others or working theoretical correctitude into your pallette, but the final test is an aural one and to that extent I regard aural awareness of the notes as the single MOST important aspect of one's own playing.[/quote] Spot on. I can name every note on a fretboard (guitar or bass) but am not aware of that at the time of playing. When I learn a song, it comes very quickly what I need to play and if I fancy messing around a bit on stage within a number, I seem to know what to do when I know which chord is coming next but don't seem to think too much about it. Yes aural awareness and training is the key. IMO.

[quote name='largo' post='497082' date='May 25 2009, 09:28 AM']Oooh, I love the look of those F Bass Jazz-a-likes ? Is that one for sale or just an example of what to buy for £4K ?[/quote] It's new and up for sale from F bass at $4,100 so in Sterling terms, it's a cheap bass for what you get. It would appear that Bubinga5 is after the benefits of both passive and active, and obviously loves jazz basses so I thought that one would fit the bill being 3 band active (boost only) and passive switch. They apparently have totally noisless electrics too. I know my BN5 does. I have not tried one yet. I've managed to get my grubby hands on most of the range at some point but not one of those. I think, had it been up for grabs at the time of purchase of my F bass, I seriously would have killed to try it before commiting to the BN5 as I've always owned some sort of jazz whether it be a four or five.

[quote name='bubinga5' post='489497' date='May 16 2009, 07:08 AM']By some good fortune, i have 4 grand, and was thinking about spending it on a bass....Was wondering what are the top 5 super jazz basses on the market. or anything else for that money????.i would love to try a Low End jazz...Dont get me started on AC's....Im GASing over a new 5 or 4 string. so whats in my ball park? tis not a jazz, but I was thinking about a Sukop.. i have heard one and it sounded awsome!!!...I know there mega bucks though.. Im still searching for a bass that ticks all the right boxes..the only one that i really love is the Ostinato...i played it live on thursday and it was sooo good..The tone is awsome when playing gently, but when you dig in through the Aguilar its got the most amazing growl and punchy tone..There was a guy in another band playing the same night, with a HH stingray..and he played the Ostinato and said it was in a different league... Ive come to the thought that, although i love the passive sound, i dig the well amplified bass..the EMG's are superb on the Ostinato..Any suggestions on a new bass??[/quote] Check this out.

Tell me if I'm wrong here but have we not all been in a shop, picked up a £900 bass and thought "I don't like that" Picked up another at £299 and thought "that's spot on" I think you need to try as many as possible and buy whichever one that you don't want to put down. You can always mod it later if you choose.

[quote name='boabskiboab' post='495588' date='May 22 2009, 08:40 PM']First up if this is in the wrong place.. sorry, i'm sure someone will move it. After a jam with a couple of friends, i notice something. I was the only person to bring a tuner, so shared it out. My bass sounded sweet , but the two guitards were a mile off . Now my tuner is quite a ropey £20 boss. Is this down to a crappy tuner or something else. What is/are the best/most accurate tuners to get? Cheers in Advance[/quote] Two new guitarists perhaps?

Problem with leaving basses on hangers is that they collect dust and kill strings.

My brother was responsible in the beginning for my musical education. He brought home Hey Joe and the next week, he took me to see The Birds (Ronnie Wood's old band) Real Brit rock. He then moved me on to Jeff Beck, Rory Gallagher, Spooky Tooth, Jon Hiseman and Jethro Tull so I was getting some of everything from Rock to Jazz. Two months later at sixteen, I was in my first band (on drums) with him. He still does it now at age 61. Got me into Bela Fleck some years ago, along with the Rippingtons. I recently got him into Casiopea. We talk about once a week and the subject matter is still 99% music. Thanks Bro. Nice thread Bubinga.

How bout this one? Comes with a hard case, near mint cond. I have flats on it at present. Sounds great. I paid £235 3 years ago. Just hangs on a wall now. Make is "Merica" Can get a fairly nice upright sort of tone with a tweak here and there. Nice low action.

Shouldnt this have a three bolt neck plate?

Here's mine.

[quote name='Jean-Luc Pickguard' post='487235' date='May 13 2009, 07:38 PM']Pointless thread. If everyone liked the same thing the word would be a very different place. Nope Nope Not past the first few seconds I won a lego competition at my local toy shop - but I don't expect anyone to worship me for it Fine, but not everyone actualy enjoys listening to "thwakkatta thwakkatta thwakkatta thwakkatta" no matter how much skill goes into making such a sound. I couldn't give a toss 'cause I won't be there I didn't post on the other thread, but I felt compelled to reply to this one. I must admit I don't really give Mr Wooten a second thought most of the time as what I've heard of his playing says nothing to me and I have no aspiration to play any of the kind of music he plays. I'm not at all into slap - I can understand some people are, but then again it takes all sorts. I really don't care about Vic's playing. I'd rather watch/listen to Willie Dixon or Duck Dunn doing their thing.[/quote] This is all getting out of hand again. If it helps to diffuse things., I think the baby Jesus, bunny rabbits and puppies are very nice.