Fionn

If there's any single thing that should tell you to experiment and find your own way, it's a thread like this. When I first started to think about using effects I poured over these kinda discussions, but they inevitably become a morass of contradictory opinions, theories, and justifications as to the "best" method, one way or another. A wise man once said ... "Opinions are like @rseholes .... Everybody has one, and they all stink." Just experiment man, find your sound

My Aria SB is the most perfectly balanced bass that I've played. The strap button is roughly parallel to the 12th fret.

I had a thumb bass. The top horn on a Thumb bass is short, and therefore the strap button is in a position roughly parallel with the 15th fret. This has a couple of negative effects. The balance of the bass is shifted forward and the result is neck dive. This is a commonly acknowledged problem with Thumb basses (although some players claim to be immune to the condition). The other problem that this causes is that it makes the lower frets feel far away. Playing around that area of the neck for a period of time is rather fatigue inducing (carpel tunnel on a plate).

There are various Eko basses with that kind of look. Do a bit of Googling and check them out. Just my opinion, but the most definative "60's looking" bass would have to be the Fender Jazz. It baffles me how its aesthetic has endured and flourished through every change in bass fashion. Such has been its popularity in every age of the electric bass since its conception, that I think folk forget that, stylistically, the Fender Jazz is very much a 60's bass.

The MXR M82 bass envelope filter has a "sensitivity" control so you can easily set how much of the signal is effected, and therefore how much dynamic quack you want. Consider this pedal man, it's amazing, and it will give you the control that you're looking for. Your uber-hot signal is not a problem. Dial that quack to suit your bass ... really

[quote name='warwickhunt' timestamp='1381693728' post='2242518'] There are some solid colours that are just 'classic' but I agree not all work... luckily beauty is in the eye of the beholder! [/quote] That orange-painted SS1 that you had/have is probably the coolest looking Warwick I've ever seen. Amazing Beasty. Do you still own that?

This is great, thanks guys. It's always good to hear some perspective when the mind is racing with a risky idea. I love the Basschat community for this kind of thing I don't need to sell the Warwick for the cash or any reason. Someone suggested that it might be "de-cluttering" of the mind. I think that's where this all stems from really ... Having a desire to simplify things and having to talk myself into it because the idea of letting go of the fretted bass isn't entirely comfortable. The lumpy majority of you guys think that cutting back to just the fretless is a bad idea, and with really good reasons. Aye, there lies sense, and I'll go with that. That said, Ray Against the Machine touched on something that tickled my thinking. [quote name='RAY AGAINST THE MACHINE' timestamp='1381656433' post='2241780'] You could sell the warwick, and buy the fretted broter(or sister) to the aria .that way , you have best bass for all situations . [/quote] Hmmmmmm ... do something to consolidate the sound and feel a little more between my fretted and fretless basses? Interesting suggestion. Perhaps sacrifice the Warwick for another (fretted) Aria SB? Something passive, or with a passive option (does the SB1000 have a passive option?). I've [b]always[/b] played nice Warwicks, but as much as I truly love them I could maybe benefit from a change of scenery. You know, shake it up a bit.

[quote name='BassTractor' timestamp='1381617445' post='2241565'] Minnie Riperton is on that record [/quote] Eh?! wow .. a different side indeed

I'm seriously thinking about it ... Just knocking it on the head and reverting to my old fretless Aria SB900. It's the nicest feeling nicest sounding bass that I've ever played, and what the hell, I play fretless better than I do the fretted bass these days. It's twin-pickups are phase switchable and each has it's own tone and volume control, so I have a lot of tonal control at the bass. I also dabble with effects so tonal limitations are not a problem. Especially as the music that I'm becoming involved in is not dependent on that "whatever" sound. I can make the bass sound good, and play basically whatever I like. Nobody will become cross with me. I'm having these thoughts, really doubting that I need my Warwick, and then I pick it up and play it. Sooo different, but it also feels and sounds amazing with different things going for it, which is a head-screw. I don't know if this is just a "simplification" fad that I'm entering into, or whether it's the overwhelming logic of the situation telling me to just be faithfull to that beautifully-made Japanese bass of the gods, and giving myself completely to its silky passive fretless lushness? I'm just mulling it over really, but having doubts both ways. What do you guys reckon? Have any of you acted out a similar situation, and either strongly regretted or felt glad about it? Just wondering.

[quote name='bubinga5' timestamp='1381614474' post='2241525'] well for those that might not know. [media]http://www.youtube.com/watch?v=zWSFllXLd4k[/media] [/quote] Yeahhhh! sweet! love the breaks at the end. Makes me dance

I just wanted to share this. A lot of folks will be more familiar with the excellent reworking of the tune by Nuyorican Soul, but check out the 1971 original by Rotary Connection if you haven't heard it. Oooooo, it just posseses that extra black-gold nugget of aural lushness. If ever a piece of music could inspire joy in the heart it is this. It'll make you smile from the inside I am the black gold of the sun ... [media]http://www.youtube.com/watch?v=SsY_rRFncGU[/media]

Welcome, skin spanker!

[quote name='Dingus' timestamp='1381086022' post='2234247'] I always thought it would have been better if he had said " Just like a Panzer." [/quote] Hahahahaha!!!

That would be quite a challenge. There's another clip from the same gig. A tune called "the godfather", which is much more palletable. Tasty bassline too. The bass kicks in at 2:28 ... http://www.youtube.com/watch?v=Tsi3z1EFv24

[quote name='maldy' timestamp='1380917393' post='2232503'] The body on the streamer was superb, but the neck was a little too chunky for me ......... Also if you don't like heavy (in weight) basses, warwicks do tend to weigh a ton! The hot rod is the anomaly. It is light ......... I've never tried a thru neck warwick and that might tempt me to get another. [/quote] The neck on my Streamer is really slim, but mine is an early model. The necks became chunkier later on (not sure what year). Also, it very light. Only 8.4lbs, so the hot rod is not an anomaly! I'd recommend that you try an early Streamer (stage 1 or 2). Slim neck, light in weight, neck through body. They are the Holy Grail of Warwicks, to be sure.

I, like most folk, play the lower note with the index finger and the higher note with the midle finger. You should have more control if you play with your right hand closer to the bridge (as opposed to the neck-joint) where the strings feel more rigid. Also, I find that the position of the bass helps to no end with good finger-style technique. Each to their own, as it's subjective of course, but there is a prime position for the physical mechanics of it all.

[quote name='discreet' timestamp='1380915497' post='2232458'] I get GAS for Ritters too [/quote] Now THAT is just deranged!

Warwick [b]love [/b]from me. I've had a few. A Streamer Std, Dolphin Pro2, Thumb NT, and I'm currently settled on a Streamer Stage 1. They all have different merits, 'though The Thumb NT, Streamer Stages 1&2, and Dolphin NT appear to be the classics of the brand. They have been out of fashion, sure. Although there are signs that they are coming back. I'm seeing them played out and about more. Second-hand Warwicks are starting to fetch higher prices again too (there were some insane bargains for a time). The early (1980's) Warwicks have always been more sought after and seem to hold their value a bit better. Back then they were hand made, utilised EMG or Bartolini pickups, and (Warwick branded) Schaller hardware, the really early models had a different headstock shape, then the common head shape, but with non-inclined tuners. Some different wood selections back then too, amongst other distinctions. I've heard these basses refered to as the "transitional" Warwicks. Some collectors go daft for them. Love them or hate them, for whatever reason, there can be no denying that they are quality instruments. The rest is subjective.

Well, I listened to "In a silent way" today, for the first time (and the second time). Magical stuff! Aye, such economy and restraint, especially when compared to "Bitches Brew". What a beautiful moment, half an hour in, when the full drum-kit kicks in, and then retracts, back to the space. I love that. It's imposible to focus on anything else when listening to these albums. I've lost a few hours of work on Miles Davis this week, but it was very worth it. Och, in my current mood I'm prefering the edgy nature of BB though. Those buried grooves are dirtier ... Nasty, yeahhhhhh!!!!

Some of your replies have made me very interested in hearing "In a Silent Way". I just downloaded it. The afternoons listening at "work" is assured. Gracias

On second thoughts ... A friend of mine once owned a Burns Vista Sonic. THAT was the worst bass I've played, even worse than the Epiphone. A total pig of an instrument. I'm astonished that folk spend 4-figure sums of money on those. Not only do they feel, and sound bad ... they look terrible too. Right down there with Rickenbackers. Yuk!

The worst bass I've played was an Epiphone Thunderbird ... An absolute atrocity of an instrument.

Wow!!! I heard Bitches Brew for the first time ever today. Both records, loud, through nice speakers, whilst I should have been concentrating on work. I became lost in it really. What I found most absorbing were the prevailing hypnotic grooves which are interlaced throughout the radical and sometimes (borderline) chaotic course of the two records. They are most often very subtle, sometimes almost buried. This is superlative musicianship on every level. It totally blew my mind. Is it co-incidence that this record was concieved during the psychedelic revolution? It's been a while since I've heard anything which is at once so utterly engaging, challenging, and stimulating. That said, It's not shagging music, and your girlfriend will probably hate it It wont sound at best on youtube, but here's a link if you're interested ... [url="http://www.youtube.com/watch?v=U-vFIh7GP-Q"]http://www.youtube.com/watch?v=U-vFIh7GP-Q[/url]

Thusfar, my album of the year is Random Access Memories by Daft Punk. I Love Love Love it!!!