thodrik

[quote name='bigsmokebass' timestamp='1358123156' post='1933647'] Have you tried them? I know when i did last year they felt hell'a small anyway, i dare to think what a 5'er would feel like :-/ On the other hand, about time for Fender to make a "Highway 1" 5 string?? maybe a chance to market a budget 5 string Precision too? BSB [/quote] I had a quick go an older Highway 1 Jazz. Seemed like a nice enough bass. I like the look of these models but haven't tried one yet. If I was shopping for another bass I would definitely consider one, alongside the Blacktop P bass which just looks fun. A Highway 1 five string would be a great idea. Quality 'American' Fender five string for a decent price.

[quote name='chris_b' timestamp='1358186166' post='1934517'] They said that David Nordschow is doing some work for Eden. That's got to be good news. [/quote] Interesting. I thought he was gone for good. I'm hoping Eden do make a 'comeback' rather than plunging into non-relevance. Even SWR has a more visible status at this point.

I just saw in other thread someone in another thread say something along the lines of 'a lot of US players use Eden' and it got me thinking. I barely ever see an Eden at a gig, rehearsal studio, or in a shop, maybe 2 in the last 8 years. Were Eden amps ever popular on these shores? Also, what is the current situation with Eden? I know that they were bought out by Marshall but since then I have heard nothing in terms of new products or any developments whatsoever. I also know that key figures like David 'Eden' Nordschow and Lane Baldwin have moved on to do DNA amps a while back, but I really haven't heard much from DNA either. Basically is Eden restructuring or are they just one step from disappearing altogether? Thanks in advance for any input.

I went ampless for a few gigs. You are always depending on the venue having a decent PA, decent monitoring system or in-ears and decent soundperson who isn't afraid to put bass through a monitor and pa, which is not always a guarantee. Ultimately I liked the safeguard or a load, portable combo. If I was in a function band carting about my own pa and monitors, I'd consider going ampless though.

[quote name='hamfist' timestamp='1357583953' post='1924904'] Absolute codswallop sir ! Non-one has enough drive pedals. [/quote] I know, I just tell myself that so I don't empty my wallet!

I am sure its a quality product. EBS make good kit and Sheehan would only put his name on something that he really believes in, his basses being a prime example. I have enough overdrives already, including two from EBS, I don't think I need another!

Finding the 'right' Fender can be a tricky process. I do think that a lot of the 'dogs' we find shops are due to a poor setup which can be pretty much fixed rather than serious problems with the actual instrument. However a really high action can also be a lazy way of hiding somewhat uneven/untidy fret work, leading to buzzing when it is lowered. If I am going to be paying £1000 on a bass I would want it to play well right away.

umm, alternate which half you plug the amp into each time you use it? Then you are using the whole of your amp, albeit at different times.

[quote name='Jellyfish' timestamp='1357384756' post='1921854'] I did grade 1 about 3 years ago now and it was extremely easy. I felt that I'd effectively learnt how to tackle the sight-reading part just by practicing new pieces on a regular basis. As far as I remember, it was about 8 bars and it two bars looked similar but one note varied in pitch which I guess was their way of trying to catching you out. Bass, tenor, and treble clefs though? Even for grade 8, that just sounds cruel. [/quote] Doing grade 5 theory before undertaking grade 8 is a good idea just to be familiar with the different clefs. In orchestras though double bassists have to be prepared for playing with different clefs, as after going beyond the first G beyond middle C, trying to write notation in the bass clef gets a bit messy and difficult to read in the bass clef. From playing the violin at a younger age I didn't really struggle with the treble clef. The tenor clef seemed a bit excessive though!

[quote name='thisnameistaken' timestamp='1357347259' post='1921577'] BALLS OF STEEEEEEEL. Seriously though, kudos. [/quote] Thanks, although that was a long time ago now though!

[quote name='oggiesnr' timestamp='1357337605' post='1921454'] Grade 8 is scary as it includes reading bass, tenor and treble clefs. Steve [/quote] I forgot about that on the double bass. That was horrid. The worst is the switching from one clef to the other in a short period of time.

I did grade 8 on the double bass when I was 17. Essentially it was the case of 'read for 30 seconds, then grip it and rip it' in terms of playing the notes. When playing though, make sure you pay attention to the tempo listed and any notation regarding dynamics, as this is good way to pick up a few marks in the event that you make a complete mess of the actual notes, which I believe is pretty common in such exams. I always thought that the sight reading pieces were about a grade or two behind the prepared pieces. As with everything, practice makes competent (usually, at least on a good day).

For the first meeting in every meeting/jam/recording project, I always bring my Fender Precision, just in case I encounter such ignorance/snobbery. Once I have the gig I'll bring what I like. People listen with their eyes in terms of music in general, its not surprising that it happens with basses. I've had the same with amps. I've had negative comments from bass players at a few gigs after bringing a Trace Elliot amp to a gig on the basis that 'they are only good for slap and they are rubbish for rock music'. I don't mind people not liking certain amps but it takes a particular level of idiocy to make fun of the amp belonging to the one bassist who actually brought an amp to a gig and then ask if you can use it.

[quote name='BigRedX' timestamp='1348054944' post='1808528'] IME music reps (and I know several) tend to be big on the BS. I be tempted to discount pretty much anything they say that doesn't relate directly to the products they are currently trying to hawk and everything else with a hefty dose of scepticism... [/quote] Pretty much. I also have a similar attitude to some people who work in guitar shops, or in fact any shop whatsoever!

My only 'in' in terms of music gear is a Peavey 6505+ 1x12 guitar combo. No 'outs' whatsoever.

[quote name='Fabrocker' timestamp='1354830696' post='1891110'] Hm. Geezer had a neck plate at bass. Here, in this model, [url="http://sp.j-guitar.com/uploads/1871/r/0376_2.jpg"]http://sp.j-guitar.c...71/r/0376_2.jpg[/url] - no. Weird. Some custom shop for Geezer, maybe? [/quote] The first series of the Excess had scratch plates, the newer ones do not.

Yeah that was the Excess.

My 78 Fender P is entirely original apart from the fact that the Scratchplate is cut into two. Apparently the previous owner had done this in order to allow easier access to the input jack which was always 'playing up'. Obviously he had never heard of a soldering iron as I have never had a problem with the bass since my brother did a basic soldering job 11 years ago. That has probably devalued the bass a fair bit from its 'nearly but not quite vintage' market value, but considering the massive rise in desirability (and thus price) of late 70s Fenders and the fact I bought it for just under £400, its not something I unduly care about.

I generally dislike binding and blocks outside of Gibson SGs and Les Pauls. I like a maple fingerboard on a Fender type bass, but I would agree that custom block colour finishes and anything with a tort pickguard generally look better with rosewood. My P bass is cherry sunburst with maple board and apart from the lacquer starting to fall off it looks fine. It even got a 'that is a nice bass' shout from someone at the gig I did last night, which generally is more attention than any of my other basses ever receives.

[quote name='Prunesquallor' timestamp='1353695826' post='1877639'] I'm not normally a fan of relicing, but that does look good! That blue thing is dog-ugly though. [/quote] I tried one in that finish (with added) with a maple fingerboard. I must say it looked great in the flesh (and sounded great). For some reason though, that same finish with rosewood board does nothing for me.

I didn't know that they made 24 fret 'vintage' Metros. Very very nice.

Pictures look okay but I'd want a full length picture of the neck from both sides in order to see the wear and tear, or lack thereof. I always hate that 'last of the good ones' rubbish. I think it is only allowable when referring to pre CBS Fenders, which this is not. Even with that in mind, there are gems and dogs in every Fender era. Hence why I would never buy a Fender, new or old, without playing it first. I think that the price is a bit steep for an all original as P basses are generally not as sought after and as valuable as Jazzes.

When I was still doing standard tuning I was using D'addario Prosteels 45-135. Light enough to slap etc on the G string with enough girth on the low E and B to retain some thump. I honestly haven't got on with E strings lighter than 100 or B strings lighter than 130. With your discount I would probably get the 45-130 Rotos. They are decent strings.

[quote name='fender73' timestamp='1352151206' post='1859505'] Actually, i may wait for the Rotosound Jazz Bass. [/quote] Complete with un-sanded neck for extra texture so it matches the strings... Nah, I like Rotos.

[quote name='stingrayPete1977' timestamp='1352141188' post='1859305'] Alleva, Sadowsky and overwater etc etc all have full order books [/quote] There should be some kind of law requiring one 'boutique Fender-based design' instrument maker to go out of business before another one can start. I own a Sadowsky, but even I think that the boutique Fender market is getting a bit silly.