razze06

Squier does (did?) a fretless version of their vintage modified jazz. All ready pastoriusized for your delectation

Also, the GK powered cabs would have their own signature sound, and probably will not sound exactly like the Orange cabs you like. I had a similar concern once, and realised it was unfounded after using a very long lead, and playing for a little while in the middle of the room. My bass sound was a lot fatter and richer out there than at the front. try it, if you want to check what you sounds like out there, or get someone to record some stuff while you gig.

Here it is [url="http://basschat.co.uk/topic/239004-tanglewood-bassmaster-funk/"]http://basschat.co.uk/topic/239004-tanglewood-bassmaster-funk/[/url] Would be great if it went to another enthusiast

[quote name='BMBR' timestamp='1402480039' post='2473890'] I'm looking for a practice combo - must be small and portable (natch !) but ideally with mp3/Ipod input, headphone output and a built in tuner. Anyone know if such a thing exists - it's the built in tuner seems to be escaping me as I search the interwebuliser for inspiration . . . yet they are available in some guitar practice combos I've seen on the market . . .Cheers ! [/quote] Roland microcube bass RX. All of the required features, plus it can be battery operated and it has a simple drum machine to practice your timing and phrases.

Many of us have started musical life as guitarists. Perhaps there is the possibility to convert some of the many young would-be guitarists into bassist? Especially after the consideration that the people in question are prospective professional musicians, and that is much easier to get work as a session bassist...

I've bought, loved and sold on a 1975 ET280, strung with heavy flats. The tone for dub and reggae was awesome. Paid In the order of £300 for it, fixed up a few problems, and sold it for a very similar amount a couple of years later. That was three years ago. I think it's too expensive, but it's a shop and they provide a service that online auctions don't. They let you try it before you buy it

At the weekend i tried a few spectors in a shop: a euro 4LX TW, a european rebop, and a higher end korean (legend?). All two humbuckers and 4 strings Not much to pick from between the rebop and the korean (to my ears), but the 4LX TW absolutely blew me over. I have already started saving up for it. £1700 for the 4LX TW, £1200 for the rebop, and about £550 for the korean one.

Welcome Jason! Enjoy the forum, and if you plan to visit the marketplae, I recommend you start enquiring about shipping charges to Singapore Love your country by the way

(I've paid my marketplace dues, so I think it's ok to say this) I'm thinking of selling mine, unfortunately. There is nothing wrong with it, I'm just finding myself playing it less and less these days. I'll post a proper "for sale" ad once i've taken pictures etc

The few jam sessions i've been to were mainly an excuse for a few guitarists to show off their chops and improvise over a repeated patten. As one of he very few bassists who would go, i would try and do my own improvisation by producing different grooves on the pattern, which can be quite rewarding with a good and perceptive drummer. Some other times the organiser of the session would distribute a set of covers to loosely learn, to have a base to work on. I've done a couple of impromptu reggae and dub sessions, which were the best ones i've ever been involved in.

Rainy car park of a shopping/leisure centre just off the M8. Tried the bass on crouching in the back of the van the guy drove in. Looked a lot shadier than it actually was.

A 6 string guitar

WANT

[quote name='Happy Jack' timestamp='1393517733' post='2381368'] The only real use I ever found for mine was when I needed to sound "different" for some reason, usually only for a short time. The best example was when a functions band I was in wanted to do Mercy by Duffy. The first four bars are played by an instrument with a lot of "sproing" about it. Might be keys/synth, might be a heavily-effected guitar or bass. I played that riff on bass through an envelope filter. It sounded nothing at all like the original but no one noticed or cared ... what mattered was that it sounded different. [/quote] That's a good idea. We play that song, and I was wondering what to use to make the bassline in the verse it stand out a bit more. Time to blow some dust off my trusty ashdown envelope filter

Not a shop, but if you fancy a trip to Edinburgh, Thornybank has got quite a collection of old trace stuff

All the great basslines of the 60s and 70s were largely played on new instruments. Age of the instrument does wonders for the listener's perception of its value. Having said that, certain vintage/old basses sound and feel amazing, but I bet you they did even when they were new

Isn't it simply that only the good basses are left, and the poorly made ones didn't last? A bit like music, really. Bad songs from the 60s are forgotten, only the good ones (for someone) are left... That could be particularly true of old fenders, that were made by hand by individual workers, using different woods, QC being what it is was....

[quote name='iconic' timestamp='1392627636' post='2370657'] brilliant, excellent explanation, cheers erm, err, so this body wood influence on the tone thing that many feel they can hear, I can't understand how it can influence the frequency of the AC current derived by a magnetic field, but want to understand. ...could it simply be because given two pieces of different woods, the string is oscillating differently due to how solidly the bridge and neck is nailed on to the body wood...stiffer or slacker? I mean there are no moving parts in the pup per se, the only part that can shift about is the string and its only tethered at two ends, the neck being the weakest part, its easy to bend the neck...maybe the security of the neck is more important to the tone? it all hurts too much now... I'm off for a MOT, thanks for the above though .....I can feel breathing down my neck, a can of worms picture & popcorn smiley coming along soon [/quote] As someone said earlier, the effect of stuff like material of the guitar body, bridge design/material/connection to the body is quite small overall. As the string is plucked, the whole guitar vibrates slightly, in a manner depending on the sonic characteristics of the body and the transmission of vibration by the bridge, neck, etc. In essence, certain woods/bridges can dampen certain frequencies already present in the vibration of the string, thus altering the signal produced by the pickup. Quite modestly

[quote name='chaypup' timestamp='1391774361' post='2361109'] Never seen an Aria Pro II like this before - anyone know the model number? [url="http://www.ebay.com/itm/Aria-Pro-II-SB-Japan-Vintage-80s-PJ-Pickup-Configuration-Neck-Through-/111269840919?pt=Guitar&hash=item19e8330817"]http://www.ebay.com/...=item19e8330817[/url] [/quote] That is lovely!

Peavey T40. That's the one I would pick if I had to pick if I had to choose one single bass to play for the rest of my playing life. There isn't a single style of music I can play that wouldn't be well served by this instrument. It growls as well as a warwick, thumps and pounds like a classic P, super strong presence in mixes, responds to different fingerstyle and plectrum dynamics, and a lovely neck.

[quote name='dannybuoy' timestamp='1390491275' post='2345989'] Or, if you haven't even bought the Jazz yet, just get the CV which has a mellower sound than the VM! [/quote] I used to have CV Jazz, but I sold it for some reason... I shelved the whole idea for now anyway, i've found that I need the money for something else atm