purpleblob

[quote name='Clarky' post='1156802' date='Mar 10 2011, 04:27 PM']A large proportion of my BC viewing is done at work where I cannot reasonably listen to sound clips and I bet that is true of many. Not a full explanation obviously but a factor nonetheless. The other issue I suspect is of differing tastes and not wanting to offend (better to say nothing than something critical).[/quote] ^this If I have something constructive or (I think) useful to say I'll make comment but if I don't like the music, the style or the playing I tend to feel there's little point in commenting and if I do like it I probably would make a comment.

Just to add my 2p worth. I cannot comment on the specific bass you're looking at, but did once have a 6 string fretless Warwick (proline I think) and it had a really wonderful tone and was very playable. It was a defretted bass so obviously had lines and the dots on the side in the wrong place (i.e. not on where the fret would be). I then assumed I should stick with lined fretlesses when I got rid of it so bought a lined Sei, but more recently I decided to take a chance (as it were) on the unlined as they looks soooooooo nice and I figured if others can play then, I should be able to (eventually). So what I would say to you is this - if I can play on an unlined (which I think I can) then so can you. The only real problem I have with unlined is that they tend not to put dots on the first fret position so around first and second and up 13th 14th (in particular) I find it damned hard to keep my intonation spot on around those points and chords can be challenging wherever they're played, but I'm definite that if I spent more time playing the fretless then I'd not have any issues. Now to even things up, the main problem with lined is that (well it's a problem for me) the dot markers are not on the lines (generally speaking) and in low light, unless you've got really bright lines they become more difficult to see and without the dots at the fret positions it can become challenging getting your intonation spot on. They're damned useful for ear training as well, so even if you don't play them live or record etc. they're useful as a tool for practising with.

[quote name='urb' post='1155567' date='Mar 9 2011, 04:48 PM']That's him - here's a little something I prepared earlier [url="http://www.youtube.com/watch?v=uUgK0nEmy0A"]http://www.youtube.com/watch?v=uUgK0nEmy0A[/url] His playing is sounding very sweet indeed on the Smith album - it's about time he got the recognition he deserves[/quote] Sorry for going slightly off topic, but agree with you there urb. I've seen those Kams Palace vids before. Some nice playing all round.

[quote name='Mr. Foxen' post='1155701' date='Mar 9 2011, 06:50 PM']I keep watching that in the hope it will sell as a value guide for my Mockingbird that is very similar. [/quote] Now that's what I call a BC Rich, an iconic shape. Niiiiiiice.

[quote name='urb' post='1155176' date='Mar 9 2011, 12:34 PM']Here's a little heads up on Scottish sax monster Tommy Smith's new fusion-tinged new album / quartet 'Karma' which features a killer line up of Kevin Glasgow on bass, Alyn Cosker on drums and Steve Hamilton on keys - but it's really high ebergy stuff, lots of tricky heads but some deep funky grooves too - Kevin plays like a demon throughout and it's probably the best album Tommy's done in quite a while: good fresh sounding modern jazz fusion played with real energy and drive: [url="http://www.tommy-smith.co.uk/ts/reviews/tommy-smith-karma-the-hub/"]http://www.tommy-smith.co.uk/ts/reviews/to...-karma-the-hub/[/url] Album is out in May I think - well worth a look M[/quote] Will check this out, funnily enough just grabbed the Multiple Organism Jazz Orchestra album with Kevin Glasgow on bass (I assume it's the same Kevin Glasgow) - really fantastic bass player.

Thanks for the headsup - the site looks very interesting.

[quote name='ahpook' post='1146912' date='Mar 2 2011, 11:22 AM']something weird is happening... i'm drifting from fenders to warwicks, and nige is doing the opposite. schpooky[/quote] It's the natural balance trying to restore itself

[quote name='silddx' post='1146624' date='Mar 2 2011, 12:16 AM']I tell you what lads, it feels like sitting in front of a roaring log fire you built yourself from cherry wood, sipping a glass of the finest warm, rich and smoky single malt, and telling your queen you caught a 68lb common carp of the Donald Leney strain from Redmire Pool today, while she smiles at you with deep, lustrous shining eyes. That's what it feels like.[/quote] Umm, are you writing a Mills & Boon novel ?

[quote name='matski' post='1146024' date='Mar 1 2011, 04:45 PM']Hear hear! In the spirit of sharing information of not so well known luthiers, here is a link to a luthier fairly local to me in Polska: www.nexus-guitars.com To be honest, I'm not much of a fan of exotic-wooded coffee-table sperm whale basses - but one man's meat is another man's poison and all that - but I have seen one of this guy's 6-string singlecut basses and the workmanship was brilliant. He does like a fairly outlandish design though. Here's one he's produced - the ideal bass for those who want a 4 string fretlees and 5 string bass all-in-one: [attachment=73643:front.jpg] [attachment=73644:detail1.jpg][/quote] Some interesting designs on his website. EDIT: Not "interesting" in a sarastic way - it's nice to see alternatives to the bog standard, but not sure they'd appeal to everyone (seeing silddx's remark confirms this ). Check out the dune bass [url="http://www.nexus-guitars.com/bassesmaster.html"]http://www.nexus-guitars.com/bassesmaster.html[/url]

[quote name='Shockwave' post='1142829' date='Feb 26 2011, 09:17 PM'][/quote] Wow, that's definitely going to stand out in a crowd

Many many many years ago I wrote out all the scales and modes I could find on rolodex cards (also turned them into a Windows Pocket PC app. but that's another story). Anyway nowadays there's loads of sites where you can check out all sorts of scales, have a look at [url="http://www.all-guitar-chords.com/guitar_scales.php"]http://www.all-guitar-chords.com/guitar_scales.php[/url] where you'll find a whole bunch of exotics. For some reason the one that I remember most (in name alone probably) from when I was writing all this stuff out, was the Prometheus Neopoliton, however I prefer the Diminished scale (although it's probably not that exotic).

I assume you're playing up and down the whole neck, which isn't neccesarily super interesting but adds the variation to ensure you keep focused, another way of practising is - do you have a looper or some back recording device to record a chords some form of rhythm, for example play a A major chord and then practise playing the related scales, modes and arps over the top ? EDIT: Sorry just re-read you comment so sounds like you are practising all over the neck, so possibly try practising over a rhythm of a single (or more chords).

[quote name='BigRedX' post='1143171' date='Feb 27 2011, 11:54 AM']TBH if you care about your strings then whatever is fitted to basses in the shop be they round, flat or in between are unlikely to be the ones you want.[/quote] +1 on this.

[quote name='Clarky' post='1140896' date='Feb 25 2011, 10:06 AM']Yep, much like the recent Peter Hook thread (and dozens before it on Mark King, Flea, Victor Wooten, Hadrien Feraud , blah, blah)[/quote] Was going to say much the same - aren't 90% of all threads on the internet a "bit silly"

I was always more into Stanley Clarke's tone than Jaco's but equally I always felt that Jaco's tone sounded perfect for the music he played. To my mind it's more about the overall sound of a song/tune and I cannot imagine "come on come over" (for example) with a deep bass or Pino's 80's fretless sound. Not saying it wouldn't work, but I think it's pretty much perfect as is. Disclaimer: I also like marmite EDIT: Although I must admit there's a clip on youtube somewhere (I don't have access to youtube at the moment) which someone playing Come on, Come over on a Wal fretless and that really sounds fantastic

[quote name='farmer61' post='1140000' date='Feb 24 2011, 02:35 PM']Just reading the post about the guitar stolen in Poland and got me thinking. I really must take some quality close up pics of dings, special marks and must note down the serial numbers of my basses in the event of any of them being stolen from home, gig etc That's all![/quote] Good point. I used to have the serial numbers of things stored away, but over time I've mislaid them - that's a good reminder for me to update all this info.

That is really nice. I must admit I've not been much of a fan of Smith's in the past but these BSR5GN's look really nice as does the BT6 voxpop has as his avatar.

That was truly awful.

[quote name='Beedster' post='1136896' date='Feb 22 2011, 11:30 AM']He wouldn't be the first 'out of it' muso to either not remember recording a part, or to have his parts re-recorded by someone else without his knowledge [/quote] Very true.

[quote name='fatback' post='1136853' date='Feb 22 2011, 11:03 AM']Missed the very beginning - did the band Skid Row get a mention? Huge influence, and Brush Shields (outstanding bass player) pushed PL into playing in the first place. Doesn't get much credit usually.[/quote] I don't recall Skid Row being mentioned. To be honest there was a fair bit missing. No interview with Gary Moore which was a shame given his recent passing. This said, I hadn't realised Midge Ure played guitar briefly when Gary left mid tour (or maybe I did know but it was so long ago my poor old memory had discarded that piece of trivia).

Watched the doc. last night and listening to live & dangerous now Was interesting to hear Brian Robertson, who by his own admission was out of it for a lot of the time, state categorically that he didn't overdub any parts Mind you I'm not sure I care. It's still one of the great albums.

[quote name='Sheldon Dingwall' post='1133463' date='Feb 19 2011, 03:24 PM']E-C on a Super J (32" to 35" scale) is no problem. On our long scale 5's sourcing strings would be a problem.[/quote] Thanks for the information- very interesting.