Munurmunuh

10 guitars seems a bit excessive

Can you add one number to another? A. Yes B. No C. ⅗

I tried one in a shop recently, very much wanting to like it, but the lack of contouring on the back put me off. I was also disappointed that the overall quality of finish was a proper step down from the TRBX I used to own. Different factories working at different price points I guess. But I love those deep 40mm Yamaha necks, my left hand was very happy. I keep chewing over idea of buying a TRBX204, since it seems that that does have contouring on the back, and pulling out the preamp..... Will return to the shop and try that too.

Yes, one fewer than I would like

423

I've ordered 3 G+Ls: all had 1⅝" as standard; one of them I paid extra to have it 1½". The JB is 1½" and that can't be altered.

Desperately so 😥

On p.1 my 424 needs a "prev:"

Did the band he played in have a particularly insane fanbase?

Has anyone played it yet?

Still, better chipped treacle than three colour sunburst, in any condition.

I'm sure that if I traced back the various influences that have molded my (rather unconscious) sense of the noise I'm usually trying to make, then they would all go back to Bernard Edwards — but I would never be so foolish as to try to emulate him. One player I have deliberately tried to copy is Craig Adams, specifically his mid 80s live sound. His right hand gets a tone that is both clear and weighty, his left hand keeps his line clean and unbroken; altogether it's a massive, unyielding, unrelenting thing, rolling on and on, there's never any let up, and there's nowhere to hide. I couldn't believe how long it took me before I wasn't mortified by my own attempts.

I just search until I find the set that best seems to bring out the character of the bass. My Yamaha BB wanted GHS Boomers, my Dimarzio P needs Pro Steels, my G&L SB-1 likes Rotosounds, either Roto Bass or Swing Bass. The exact same Boomers that sound great on the BB sound pathetic on the SB-1.

@Jonesy the good you did is still doing good 🤗

Here's a report on TB from a couple of days ago: I'll go next. I have a blonde '54 Precision weighing in at 7.9 lbs [3.6kg] The quality of workmanship is truly outstanding. I used a fret rocker up and down the fretboard, and couldn't find any wobbles. As a matter of fact, I have the relief set at .08" [2.0mm] with a string height of 4/64" [1.6mm] and it plays like a dream. No buzzing or dead spots. First fret = .95" [24.1mm] Twelfth fret = 1.0" [25.4mm] Thick, but actually very comfortable to play. Pickup = 6.28K. Correct vintage Formvar wire. Output seems a bit low, so crank up the amp. The resistor on the tone pot, although vintage correct, does affect the volume. I tried some real Bakelite saddles with no appreciable sonic difference, so I'm keeping the Fender saddles. I am curious to compare brass saddles. Intonation is not a problem. The D and G strings intonate quite nicely. The E and A strings were not bad, but I went with correct intonation on the A string, leaving the E a bit off. I don't play high up on the E string anyway. Fender has really stepped it up with the American Vintage II series. If my bass is repesentative of the whole line, they have themselves a winner.

Will it have rounds or flats? Rounds — blue/mint; flats — white/tort.

Parcelforce like to lose guitars, park them in lost property, fail to attempt to join the lost to the found, and then sell them at auction. Try emailing this lady with the full details stated clearly, briefly and politely: [.....] and cc in [.....] Hope is not yet entirely lost!

I didn't say, there's a variation of intensity, I said there's a variation of intensity of intention. I'm wondering how else I could put it.... Some notes sound like their articulation is exactly what you intended; other notes sound less focussed - they arrive in the right place, they fit in nicely enough, but there's less sense that their articulation is deliberate. Raising the level of intention of every note to the quality you're already achieving on some of them is, by definition, something you can do any time you choose to, and is something that will make a big difference. (PS I wrote that before going on to read how the conversation had developed, so apologies for kinda repeating what others have said.)

Bass playing is a long way from being my musical speciality, but I noticed something along these lines, too. Sometimes the notes feel like you really mean them, other times the notes feel more dutiful. If you could hit that maximum intensity of intention, knowing exactly how you're articulating each note, and why.......

This is doing it for me very nicely, fanx

I fully understand this - my fingers enjoy just flicking the strings, rolling them off the fingertips, so in general the heavier my left hand can bear, the more my right hand is happy. As you say, the good news for the left hand is that tense strings and a very light right hand allow for a properly low action. Atm the moment I'm playing 50-110 Roto Bass, they sing out beautifully at the slightest touch. 50-110 Swing Bass, 49-109 Deep Talkin Flats and 50-65-85-110 Pro Steels have also been fine. Rotosound's Monel flats weren't such a success though - perhaps they need a properly firm touch?

Just as a bassist isn't a "bassist" unless they can actually PLAY BASS ie slap, play a six string etc?

I'm enjoying picturing the effect of a sunburst finish on the tone of a fretless bass. I suppose that without it, the bloom never really gets started?

I can't decide whether I'm asking this seriously or facetiously, so take your pick 😁