4 Strings

I think MK is great, of course there's always an argument of the musical value of being machine gunned (similarly to shredding Les Pauls). But I regard him like an F1 racing car, lots of extreme technology etc some of which filters down to benefit 'normal' cars. Regardless of how talented Pop Powell is, it was MK who inspired me and kept the bar high. MK did plenty of other, more worthy stuff and loved the whole bass thing. (Despite seeing L42 plenty of times in the 80s the most memorable was a latter day version in a small club in Essex (with Gary Husband - worth the ticket price alone) where things were less serious and more up close. The guy is amazing!

Being an ancient bass player I was slapping before I realised anyone was any good at it and saw how to do it properly, so I'm thumb down and paying for the bad habit. In my opinion, its better to be thumbs parallel Larry Graham style. Next best is Mark King style (have to have a short strap for that though). Parallel eases the double thumb think I struggle with but also makes the 'pop' easiest. Thumb down has its limitations which, for me at least, are way short of those who wisely chose to go parallel or up. Here's a good example of parallel with double, or upward at least, thumb strokes. [url="http://www.youtube.com/watch?v=JMSq__vg7Gs&feature=fvw"]http://www.youtube.com/watch?v=JMSq__vg7Gs&feature=fvw[/url]

Here's another, Sam Benjamin, playing at the moment with a gospel singer, Helen Yousaf. Absolute class. You know, that restrained, disciplined manner that lights up with the occasional firework. Inspiring. Band has a red hot guitarist too!

Boiling was the only alternative for me years ago, to the mirth of the other band members. Still do, still is. And, yes, no substitute for new strings but saves a fortune. There's a move to rediscover flats, with much worship of sounds used by Jamerson, McCartney which I remember trying avoid. (More of an Entwhistle sound for me) and so dull strings may be more relevant nowadays. However, you are braver than I in taking steel wool to the frets, even in your innovative manner. I just use a bit of metal polish (very little, they are, after all, very thin!) to take the muck off without scratching them. Its only aesthetic so I rarely bother.

Good choice not to make enemies, if the 'experienced' guy defaults in some way you're likely to be the first call (by which time they might have found a decent guitarist)

All positive responses, thanks all, Hipshot order on the way.

"Presumably all made at the same factory on the same jig with different electrics stuffed in depending on whose name's on the headstock/body that day" [/quote] Not quite, I believe this to be true of the Tanglewood and Hudson basses but the Cort basses are proper Curbow designs made from synthetic materials (for example, luthite for the body, whatever that is). The Tanglewood is completely redesigned to be of exotic woods (even an ebony fingerboard) with the resulting different manufacturing processes. They are honestly great basses, keep an eye on the dreaded ebay for cheap ones or make offers as they don't seem to be selling (I have no links!)

A low C-sharp for part of a song would be great, Hipshot would be brilliant, but can they extend more than the tone from E to D? If anyone has one, would you mind trying it out for me, please? (Also, are they accurate enough to snap down and up during a single song?) Very grateful, Greg

Don't know if anyone else has tried or even bought one of these Canyons, comments invited. A friend of mine has extremely expensive tastes and is very knowledgeable about feel, sound, construction etc, and he loved it. My lad is becoming obsessive with the thing, playing at every opportunity and becoming more and protective about it, he truly loves it. I can understand they aren't everyones cup of tea and are completely unfashionable and, as a result, can be seen going for a song but sound great and a real pleasure to play. Anyone else have any experiences?

This is a wonderful project, the neck look beautiful. You made it sound so easy! Is it wider than the usual Precision at the nut or is it just the way it looks without frets? It will be interesting to see how the surface survives round wounds over a period.

Saw the Hamsters a couple of years ago, in London somewhere, the Half Moon in Putney I think. As I understand it the bass player has a problem with his right hand which makes it difficult to play. If he makes it look effortless then he is all the more a Geezer! The Hamsters are just the sort of band, cheap and easy to go and see but top notch players. Great call, Hamster

[quote name='AndyMartin' post='557404' date='Jul 31 2009, 07:23 PM']James Jamerson's style, technique and creativity might might have come from his brain and his fingers but his tone was all '62 Precision with sky high action, never changed flatwounds and Ampeg Portabass.[/quote] Let's not forget the Tamla recordings were all DI (the Ampeg came out for his live performances) and he went through more than one 'Funk Machine', although I understand there was one which was around for by far the longest. Those dead strings and high action would have sounded absolutely dreadful under my fingers.

Love the 'wall of death' tom positions from those heady days!

But these two guitars aren't the same. The one on its own has lost more finish than the one Jaco is playing and so could be a later photo. However, if you look at the top of the body, underneath the divine forearm, you see that there is more wear on guitar His Jolly Self is playing. Can't be both.

Interesting question, Bruce's sound was distinctive in the earlier days. Lots of treble, but then Ricky's do that. You'll also get that from your Precision with nice new Swing Bass strings. Try this: [url="http://www.thejam.org.uk/equipment.html"]http://www.thejam.org.uk/equipment.html[/url] Seems Marshalls and 4x12s are the order of the day.

For my tuppence worth try Rotosound Swing bass strings, as heavy as you feel comfortable. These were used on Live at Leeds (along with Hiwatt valve amps and 4x12s) to give, perhaps, the benchmark for Precision growl. While I love progress in bass amplification if you want an old fashioned sound its best to use old fashioned equipment. I don't have that old equipment but, to me, Swing Bass strings seem to be made for Fender Precisions and make a big step to that sound. I don't know the gauges preferred by JE but the heavier gauges add weight to the sound.

A paltry list compared to some. Had one bass for years and years until very recently. [b]Avon EB0 copy[/b] - owned for ~6 months - 1st bass, terrible in every way, the only bass I destroyed [b]Hondo P copy in natural with maple neck[/b] ~ 1 year, bought new for £70 in late 70s. Looked great, played well but was so heavy [b]1973 Fender Precision, all black, maple neck[/b] ~ 2 years, second hand with 18 monthly payments. Neck wasn't flat, cost me around £50 to dress the actual wood, refinish and replace frets. Thereafter wonderful, why didn't I keep it? Traded it in for [b]Aria SB600[/b] ~3 years, bought for its amazing looks and also played brilliantly, sounded fine, couldn't afford the 1000. Sold to a friend to buy; [b]Jaydee Roadie 1A*[/b] ~26 years, my bass for most of my playing life. Bought brand new for £500, still got it, still my no.1. SO easy to play and very much mine. [b]Fender Frankestein P*[/b] ~1 1/2 years, very worn 1978 maple neck, black body from who knows where, old Squire hardware, Fender black scratch. To be knocked about, plays very nicely with bright P sound. [b]1977 Fender Precision*[/b], black maple neck (theme going on here) <1 year; one previous owner, played in a big band. Flats, virtually as new, ash trays, shop tags, owners manual. Beeyootiful it is, like a museum piece, cannot get more original but scared to take it out of the house. [b]J&D Precision Funk Machine copy*[/b] ~ 2 months. Bought from ebay as a present but I kept it! It plays and sounds fabulously! Cost almost nothing and in perfect condition. * - still have

[quote name='urb' post='715000' date='Jan 16 2010, 05:09 PM']I think this is what you might be lookng for... - er, don't try this at home or on stage: Epic fail...[/quote] Thanks for that, bit like the ski jump, how do you practice that kind of thing?

If it affects his radios then it must be something to do with radio waves rather than conducted signal. Starting at the source I wonder if a better guitar lead may help. This may be acting as a weak transmitter if the screening is poor. Also, the lead that takes the amplified signal to the speaker will be handling a greater signal and may not be screened, perhaps surrounding this in foil (I know, you'll need to take the lid off your amp) may help. Would he bring his radio into your house while you give him a nice cuppa and experiment (or take your amp into his)? You may here exactly what it is and find its just a buzzing or something which may be down to the house wiring. If your house has different circuits try plugging the amp into a different circuit (the kitchen for example), a link to his house may be effective. Does it happen on your radio? Lastly (as someone who enjoys the radio!), although your playing may be disturbing his radio listening, his radio listening is also disturbing your bass playing. He should be able to accept a compromise (certain times etc).

Yep, this is all true (including, I'm sure, the comments about a certain member's playing). I must say that, in the thick of a gig, or even a recording, there can't be many who could point out a change in bridge, the type of finish material, the 'tone' wood used, even the type of strings. The subtleties of painstaking and expensive choices such as these are rather lost in a cheap curly lead let alone a mix. Whilst I am only happy when playing with a sound I like, this will be despite the bridge type, which, so long as its strong enough and doesn't buzz, rattle or cause breakages, will be judged on how easy it is to get the strings through and adjust. Bit like a football ref, the best ones aren't noticed.

This is great stuff, keep 'em coming. Apologies for the 'small time' reference, but I think you've caught the idea. I'm gonna search out Mick Hawksworth and the Union look interesting too, any more?

[quote name='grimbeaver' post='711995' date='Jan 13 2010, 10:16 PM']I have a great trick where I go for a walk around, stand on my lead that rips out and walk a few paces wondering what has gone wrong then sheepishly go and plug back in again, cant count the number of times I have done this[/quote] Can always tuck the lead in a loop under your strap. Stops a great trick but you then only do it when you want to.

[quote name='chris_b' post='710811' date='Jan 13 2010, 12:50 AM']How about playing the bass with your fretting hand [i]over[/i] the neck?[/quote] Keyboard player at my church sometimes stands in on bass, he plays like that on occasion. Very clear thinking chap, I think he finds it easier rather than doing a trick. It'd certainly be a trick if I did it.

We all know that some of our heroes play for the top bands and so getting to actually see them is an occasional and costly excercise. However, as we all know, it about who you know etc not how good you are. There are some fabulous bass players playing in pubs near you and I wondered that we could have a list of recommendations. Not you, or your mate etc but bass players who are currently playing in easily (and cheaply) accessible places from whom you think your brothers on this forum would benefit. I can start off: An obvious one is Blockhead legend Norman Watt-Roy, who has been playing regularly with Wilko Johnson ( [url="http://www.myspace.com/wilkojohnson"]http://www.myspace.com/wilkojohnson[/url] ) for some years now. He's fantastic, so much energy, innovation, sweat, commitment, talent, all for a tenner! A second nomination is Sam Bunting who plays with Zalinski ( [url="http://www.myspace.com/zalinskiband"]http://www.myspace.com/zalinskiband[/url] ) sometimes use a Warwick, sometimes MM, intricate bass lines, lots of detail and interpretation but accurate and appropriate. Very good to watch and pinch ideas from. Get out there and learn, for the price of a beer or two what could be better? Any others?