Sibob

i just want to clarify something .................. We're not all having sex with our basses are we??? ahh girls, right, good! The Funk - Sorry to hear about your situation, to carry on with the analogy...you don't need any firewood rubbish clogging up the mix, nows the time to concentrate on your own chops then go shopping for a much better instrument! or something Si

[quote name='bilbo230763' post='118600' date='Jan 11 2008, 03:35 PM']Because, for along time, everything good in my life came to me because I played. That is no longer the case but it still feels like the safest place in the world to me. It helps me make friends, it is a creative outlet where I have no other, it earns me money, it relives stress, it brings me affirmation where I need it, it keeps me interested in what is going on in the world of music and art, its fun, its totally absorbing, it gives me a social life that sees me coming home with more money than when I went out (unlike most people's), it takes me to places I would probably otherwise not go and introduces me to people I would otherwise not meet (even TheBigBeefChief)..... and because I can. So why wouldn't I?[/quote] +1 Couldn't have put it better myself! Si

Thanks for the info Si

Ah i didn't know you could get Ultralights with standard post sizes! Hmmmmm Si

Ok so following on from my Encore/Fender-like/Allparts Precision build thread a couple of months ago (very happy with it, gig it regularly. Sound/song clips coming soon), i think I've caught some kind of bug. I couldn't resist buying this body from Kevbass: [url="http://imageshack.us"][/url] ...with a view to giving it the much needed TLC it requires. It's an alder Fender Highway body. I have a refinish hooked up from a family member who is a furniture builder/woodwork college tutor by trade and builds guitars for a hobby. The provisional refinish ideas are as follows: -Two-Tone Sunburst -Vintage/Alpine/Olympic White (a solid white basically) -A natural finish (might look boring with the alder body) Hopefully with a Nitro finish in all instances. Of course this all depends on what he has available to work with, which will become apparent when he sees the body and we talk more, he might say it'll have to be Black, who knows. The rest of the provisional spec is as follows: - Dimarzio UltraJazz set (high output, passive humbuckers) - Hipshot Ultralight Clover tuners (ala Lakland) - Badass II Bridge - Pickguard is most likely to be tort, although may leave it off if the finish has to be natural - Standard Jazz control plate and knobs Neck: I'm playing with the idea of a Warmoth Birdseye Maple neck (see Warmoth post in this same forum), mostly because i'd like the birdseye, and they also do the option to accommodate the smaller Hipshot tuners. This is open to anyones suggestion though, i don't think i want to go down the graphite route, its a bit pricey and i do like wood tones and aesthetics. The reason behind the Dimarzios at this stage is because i want to try and find a high output passive bass that can replace my active basses in my originals band (playing in Drop C), although am open to other ideas, what other hot/high output passive jazz p'ups are out there?. The reason for the Hipshots is because i really like them on my Lakkie 44-02D, and if i go for the Warmoth neck, they'll help keep the weight down. So thats about it i think at the mo, its very early stages, haven't even received the body yet lol But i got excited ! Si p.s. If anyone has any of the parts I've listed above for sale.....well you know....tell me!

Ooo yeah, forgot about the bridge haha. Also fanned fret pickups are all at squiffy angles Si

Surely its worth it for the same reason that you want a different scale length in the first place!? If you're thinking about 35" upwards across all strings, then you have to think about the fan fret concept and why it started getting used, higher notes/strings benifit from shorter scale length. So the longer scale you go to find ultimate tension in the low end, you'll increasingly (arguably) lose tone and other things in the high end....even on a 4 string. I think the fan between 34 and 32 is because its a 4, the fan would be more on ERB's Who you thinking of building it then? Si p.s. I've never tried a Fan Fret, but the concept is enthralls me

Why not go for the best of all worlds and get a fanned fret neck!! The Dingwall J-Bass (Novax system) ranges from 34" on the E to 32" on the G I assume you're looking for someone to build you one? Si

[quote name='Hamster' post='120885' date='Jan 15 2008, 04:04 PM']For all the charges - import, VAT and handling etc, if you add 22% to the final shipped total that will give you a good idea of the in your hands cost. Hamster[/quote] Works out £8 more expensive then my calculations Still, worth considering i reckon, for it's custom options Si

I've just noticed that i failed to include the finish in that price lol Another £38 for a clear satin Taking the price to around £216 for a Birdseye Maple neck/FB with 'ultralight' peg sized holes, satin finish, delivery and VAT/duty included. Not bad i guess considering an Allparts finished neck, standard maple or rosewood range from £163 to £226 (blocks & binding) + delivery Si

I'm thinking about a Warmoth Jazz neck for a project i have in the pipeline. The reason I'm thinking Warmoth over say Allparts (who have been great for me in the past), is that: 1 - They do 'fancy' woods, and i want Birdseye Maple 2 - They do smaller tuner peg hole options for tuners such as Hipshot Ultralights, which will be my tuner of choice After some XE.com conversion, it seems i can have a Birdseye Maple Jazz neck with the small tuner hole option for £171.55 inc delivery & VAT. What kind of import duty could i expect on that? Cheers Si

[quote name='bilbo230763' post='120736' date='Jan 15 2008, 12:38 PM']....but don't lose sight of the SOUND of the scale (which is what matters).[/quote] Which refers back to my point (Adam Nitti's point!?) of being able to sing the various different scales as well as play them, makes you more aware of the subtle changes in sound between closely related scales such as Lydian and Mixolydian modes. Oh yeah, learn your modes if you haven't done so already, it opens up a lot of ideas and possibilities Si

The bass player in a Death Metal band called Origin does LOADS of doubling of the guitarists sweeping....on a 4 STRING lol Slightly more tasteful i guess is Adam Nitti's sweeping, super clean and rather effortless looking. His technique is something i've hooked onto, using the thumb to rake down through the sweep and fingers to rake up back through it. [url="http://uk.youtube.com/watch?v=B_a6zwI2Tmg"] Origin [/url] [url="http://uk.youtube.com/watch?v=-wxurZAFJWA&feature=related"] Adam Nitti [/url] Si

I've really been concentrating on my timing and 'cleanliness' with regards to recordings. I realised a couple of years ago that i have a natural tendency to rush things, i get excited lol. So now literally with everything that i do i lay back a lot more, in other ways i almost get lazy with where i hit the note. At first it felt very unnatural, but i listened back to the session where i had the epiphany and it was spot on. Now my studio recordings are a joy, because now i associate any session/studio recording with relaxing, all very Pavlovian i guess . On the live side of things, with most people i suspect, it kinda goes out the window a little bit. If it's a chilled gig, it's much the same as a recording, but i haven't done a chilled gig in a long time . I like to bounce around, have fun and give a performance, that to me is more important live then hitting every single note 100%. Of course, the more one does something, the better one becomes at giving said performance and hitting all the notes super clean, although who wants to hear a studio like bass line at a live gig, you want some spark and fire there! 99% of audiences (IMO) will appreciate an exciting performance moreso then if every player stood still and nailed the recording, how boring would that be! Si

Within regards to scales, i'm working on an idea that i got from Adam Nitti which is something along the lines of: "if you can't sing all the different scale shapes, you don't know them well enough" It's already helped any improvisation i do as i have more of an idea what will work based on the sound of everything as well as the actual theory. Also, Miles Davies said it best when with "...there are no wrong notes, just opportunities" Si

[url="http://video.msn.com/video.aspx?mkt=en-gb&tab=m1190634400937&from=ENGB_Control%20Room&vid=f15af114-c9ed-4eda-8e52-acce9025f872"] Might Be Of Interest [/url] Wicked band, not bad solo spot for a mainstream artist show! Si p.s. theres a couple of adverts before the vid starts

It's not letting me send PM's to you Pete. Cheers for coming down, sorry i missed you at the end! Hope you enjoyed it, if you make another Oxford gig we'll have more of a chat! Si

What is the hardware like? Decent enough tuners and bridge? stays in tune etc? I'm maybe looking for a jazz to try some Dimarzio's in, and their white/yellow 70's esque one looks nice. Alder body. I seem to remember the bass you brought Neil was a lot more yellow then what it looks in their pics. Was the one you brought listed as 'Vintage Yellow'? Si

My vote goes for tort!! Black or white looks nice on white basses BUT a solid 'colour' one might look a bit weird on the trans white finish with the wood grain, would look better on a solid white, like the DJ above. So all things considered, yup, a tort! lol Si

My '85 is anything but heavy and the quality control was obviously very very high that day, they also must have had a shipment of the best bodies, necks and parts for my model! ....... i wonder how long we can keep this up for lol Si