derrenleepoole

[quote name='Bilbo' post='919702' date='Aug 9 2010, 03:26 PM']Dave Holland's new album w. Pepe Habichuela[/quote] This album is stunning, but I can't help but feel that Dave is mixed a little low for my tastes - I want the bass to rumble more I'd recommended the following for you to try out: The new Phronesis album 'Alive' is simply astounding - beautifully recorded and the craftsmanship is incredible. Mike Walker's album 'Madhouse And The Whole Thing There' is an excellent listen too, the first track in particular, he's also a top bloke. Kyle Eastwood's 'Metropolitain' ain't too shabby either, and if you're feeling exotic try John Zorn's O'o, which is simply wonderful - very easy listening for Zorn. Some of the other groups I'm really digging at the moment are Trio ELF with the album '746' and Gareth Williams Power Trio with 'Shock!' You probably know these already, but if you don't, go check them out Peace.

[quote name='Bilbo' post='919671' date='Aug 9 2010, 02:33 PM']The familiar. The tragedy is, for me, that rock and jazz are doing what classical music has done; turning into a repertory art form based on a very narrow catalogue of music.[/quote] Just out of interest Bilbo, what jazz are you currently spinning?

[quote name='Doddy' post='919657' date='Aug 9 2010, 02:20 PM']I disagree slightly here. I don't think that alot of people do understand the difference between 'truly great art' and mediocrity. I think that,unfortunately,mediocrity has become the norm and that anything that is only slightly above average(or not) is being hailed as 'genius'. In this time of instant fame,people don't want to work at their craft anymore,and will happily settle for mediocrity,both in themselves and in others.[/quote] That is true, but thankfully the majority of people who follow the careers (I use the term lightly) of those seeking instant fame are perhaps not as in abundance as the media would have us believe. There is a lot of them though admittedly, but perhaps not as much as we think there are. But my argument still holds up I feel. Truly great art is measurable against the mediocre crap being spilled out of the media nowadays.

Interesting thread Bilbo, and I'm sure I've been guilty of some of the issues you've raised. Hell, we've probably all have done it in our time, it's just part of the course of learning as a musician. Some will get there and become simply astonishing musicians, others will not - it is what it is. But this thread harks back to the discussion we had on another thread about compositions that are 'bad' jazz (for want of a better term) - so tunes like Moondance etc. While having to endure music like this, or indeed musicians who don't have the skill required to deliver a good performance, it reminds us that mediocrity in all its forms is vitally important, and shouldn't be stamped out. Why? Well, simply put, without mediocrity, how do we judge truly great art? You can't, there is no bench mark. So while poor, or under developed musicianship is killing live music, it does mean that when the truly great stuff comes along, it's immediately obvious that it is and more enjoyable for it. There is also the other side to this coin as well. I often see Gary Boyle playing live in one of my locals. Gary is a legend jazz guitarist, but quite often he ends up playing with equally competent musicians other times not, but who play the same old stuff in the same old way in the same old fashion. So a standard tune will be picked, let's say Things Ain't What They Used To Be - I can guarantee what will happen next - head, guitar solo, wind/key solo, bass solo, drum solo, head, end. While each musician may be fully capable the end result is often mediocre and predictable. Why, because many skilled musicians are stuck in their ways and are not prepared to try new things unlike say younger musicians. And given the choice, while many inexperienced musicians may not have the skill to deliver good jazz, they may have the energy and enthusiasm to deliver a solid and exciting performance. Being a skilled musician doesn't mean being a good musician and vice versa. Good food for thought though.

Have you tried Warmoth or Allparts?

Have been doing some research into cost effective upgrades to an SX jazz bass, and I've stumbled across a company called [url="http://www.guitar-mod.com/"]Rothstein[/url] Guitars who make pre-assembled tone units for J & P basses etc. The price of them is very good, and I was wondering if anyone here had used one? I did do a search but only a handful of hits came up. A pre-assembled preamp for a jazz bass with 5 position rotary pickup selection, 500k pots and a choice of capacitors is coming in at $120 approx! Any thoughts?

I'm very impressed, he still hasn't been mentioned

Here's an incomplete list of all shortie basses: Fender Mustang 30" Fender Bass IV 30" Musicmaster 30" Fender Urge 1 32" Fender Bullet 30,32" (also 34") Fender P-Bass Jr. 28.5" Bronco 30" SX (Essex, Rondo) shortscale P and J 30" Alembic (custom) Birdsong 30.5" Landing 30,32" Gibson EB2 30.5" Ric 4001 and 4003 33.25" Gibson EB1 EB0 and EB3 30" Danelectro Hofner Violin 30" Rob Allen Mouse 30" Ovation Typhoon 30.5" Epiphone Allen Woody 30" Epiphone ET-280 Ventura 32" Carvin SB series Phantom bass (new reissue) 30" Vox 30" Gretsch G2202 Electromatic Junior Jet 30" Cort Action Bass Samick Corsair 26" Ovation Applause AE-40 30" Teisco 30,31,32" Hamer Slammer 30" Hallmark Swept-Wing 30" Guild Starfire Guild JSB-2 31" James Bass (custom) R Bass (custom) Michael Dolan (custom) FBB (custom) LeCompte (custom) Framus 30" Egmond 30" Gibson Les Paul 30.5" Wishbass (custom) Ampeg SSB 30" XStrange/Bruce Johnson SSB 30.5" Ampeg AMB-1 (Dan Armstrong) 30.5" Jay Turser 30" Ibanez GAXB 150 Gretch hollowbody Gibson EB-6 Gretsch Synchromatic BassVI Epiphone Rivoli Epiphone EB-O 30" Epiphone Viola Jerry Jones Longhorn 30" Jerry Jones Longhorn BassVI Jerry Jones Shorthorn 30" Harmony 30" Hagstrom (various models) 31,31.5,32" Hamer 8-string Hamer 12-string Rickenbacker 3000 30" Hofner Club Hofner President Rogue VB-100 31" Fender Hello Kitty/Badtz-Maru 30" Daisy Rock 30" Fender Squier P-basses (a few) 32" Kubicki Ex-Factor 32" Kramer (aluminum neck) 31.5" Westone 32" Aria (some older models) 32" Univox 30,32" Vantage 30,32" Epiphone EA-260 Lyle Hohner Dean Evo 30" Luna Tanglewood 30" Brice HVB-600 30.3" Douglas WVEB Violin Bass (Rondo)

[quote name='Rayman' post='918277' date='Aug 7 2010, 07:28 PM']Mine has ended up being a great bass, bit still a little bit of a one trick pony.[/quote] Yeah, that could be true, but that's why we buy more basses right

[quote name='Rayman' post='918230' date='Aug 7 2010, 06:44 PM'][url="http://basschat.co.uk/index.php?showtopic=71695&hl=fleabass"]http://basschat.co.uk/index.php?showtopic=...amp;hl=fleabass[/url] Here's the thread on mine.[/quote] Yeah, I'd already seen your thread and it was really helpful, but you haven't gone quite so far. I'd actually missed the link on the last two posts of the thread, and found what I saw originally which gave me the idea - I thought I'd imagined it or something Cheers for that...

[quote name='EssentialTension' post='918214' date='Aug 7 2010, 06:26 PM']Here you go: [url="http://basschat.co.uk/index.php?showtopic=97762"]http://basschat.co.uk/index.php?showtopic=97762[/url] [url="http://basschat.co.uk/index.php?showtopic=95334"]http://basschat.co.uk/index.php?showtopic=95334[/url] [url="http://basschat.co.uk/index.php?showtopic=90957"]http://basschat.co.uk/index.php?showtopic=90957[/url][/quote] Thanks, I've got my new born baby in one arm, so you've saved me some work

Has anyone here totally modded a Fleabass yet? I know of the EMG pickup swap that most people do, but I was wondering if anyone has gone further? I have an unused Seymour Duncan Basslines alnico humbucker and the preamp eq system just itching to go into a bass. As I'm moving to 30" scale permanently, I've been toying with the idea of the Fleabass Junior and doing a good mod on it - but I'm unsure if the string spacing will suit the humbucker etc. I think I did see somewhere someone who did do this - i.e: re-route the pickguard and body, drill new holes for the extra pots etc, but I can't find where I saw it........ I've tried the Fleabass and thought it was quite okay, maybe not worth the full asking price, but a good bass to knock about on, and as there aren't any other short scale Stringray-esq styled basses out there, I thought this might be a good way to go. Any thoughts?

I couldn't happier after making the move to shorties after 20+ years of playing. Do a search, as this topic is cropping up more often on BC and quite a few threads discuss the pros and cons of the move

I couldn't be happier with mine, a superb investment

[quote name='mrtcat' post='917340' date='Aug 6 2010, 07:53 PM']1994, School talent show. Played an Ibanez £150 special thru a session 100w combo (the envy of every bass player in the school). We did a full uncut version of Killing In The Name Of by Rage Against The Machine. 20seconds into the "f@@k you I won't do what you tell me"bit the deputy head hit the fire alarm button so we had to stop. The fire brigade duly arrived and me and the rest of the band got suspended til the end of term. Rock n Roll!!!![/quote] Genius I once wore a sh*t Happens tee-shirt at a gig in a Catholic college, and was promptly told it did, and not to wear it

I was 18 ish if memory serves me right, so about 1990 or there abouts. The venue was Accrington and Rossendale college in the student hut at the main Accrington site. We were called No Hot Ashes (wheelie bins had just come about) and all the material was nearly all original, with a few blues covers thrown in - not that you'd of noticed because we played like a punk band! I remember the feeling of dread/excitement of doing the gig, I remember what I was wearing, what the room was like and everything - just not the songs. I even remember having a paddy because I was so nervous and the guitarist pulled my lead out of my bass by accident part way through a tune I was playing a Hohner P-bass copy that was fretless in sunburst finish running it through a Laney Linebacker 150 amp. I believe there is a video of it somewhere

There is also a 10" extension speaker cab for the old Trace Elliot BLX range of combo's, but good luck finding one. There's also the 10" extension cab to the original SWR Working Pro combo's, pre Fender. Again, quite hard to get a hold of. Then there are the Yamaha BB series of cabinets too.

I've made the move to short scale permanently after 20+ years of playing. The string length does make for a slightly less defined tone, but this nothing that can't be sorted out through good EQ, technique or indeed preamp. I find short scale really comfortable and thus enjoyable. I currently have an SX J-bass fretless, and a Tanglewood semi acoustic, and I can get all the tone I need from these basses just like I could on their long scale breathren. I'm currently on the look out for another fretted J-bass at 30"

Myself and Sean have come to an agreement on an acceptable price given the damage of the bass, and the feedback has been edited accordingly.

In one of the images the scratch plate has been removed as I was checking the instrument over for further damage - the tone pot knob was off when the bass arrived and I want to see that no damage had occurred to the bass as a result... Considering how the bass was packed, the damage is minor really... which is a miracle!

Purchased a SX Short Scale Fretless Jazz Bass - £85 + £10pp. Described as being in good condition and bought on description without pictures shown in sale listing. The bass was posted in a black plastic bin bag and white plastic bin bag! Nothing else! No packing to prevent any damage of any sort! The tone knob cover was rattling around in side the packaging, and the packaging itself was snagged and torn in several places. Opening the 'packaging' revealed a bass that had suffered a sizable chuck of laminate missing from the front of the body right down to the wood. The rear of the bass has some knocks and scratches consistent with poor packing. It's a miracle that nothing else was knocked off or damaged - even the postie commented on the poor packaging! The bass is clearly new, or newish. There is no buckle rash on any sort, and the scratch plate still has cellophane on it! So some of the damage must have come from transport! ********************************************************************************* After some emails between myself and Sean, a price was agreed upon that reflected the condition of the instrument. I believe that Sean was perhaps inexperienced and has learned a hard lesson in how NOT to pack a bass! In light of this, I think it's fair to say that I wouldn't hesitate to buy from him again because I don't he'd make the same mistake twice

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