4 Strings

I have tried with two Jazz basses, used one for a year, the other for 3-4 months, just couldn't be comfy. I also have an '80 Stingray, its wide and slim, like playing butter. (in a good way!)

[quote name='brensabre79' timestamp='1368625270' post='2079358'] I think Wide/narrow generally refers to the nut width e.g. Precision = wide, Jazz = narrow Wheras thick/thin refers to the distance from the back of the neck to the front of the fingerboard. E.g. thick = baseball bat type profile, thin = more like a cricket bat (but round, and narrow) My Jazz is narrow and thick, my Sabre is wide and thin [/quote] In which case you the suggested terminology falls naturally to you. mmmmmm, Sabre, uggllgglllgll!

I understand the profiles, it's that different people's use of words such as 'fat' and 'wide', for example, may mean the same or different things. I was suggesting standardising the terminology for these basic types. Using the suggested terminology, a J may, or may not be 'slimmer' than a P but they are known to be 'narrower'.

I think strings are meant to be dirty - 'the funk is in the gunk' (or words to that effect) - James Jamerson. I used to boil up strings in the happy, slappy 80s but nowadays I'm irritated by the first couple of months on new strings. I clean the actual bass down to the last screw when I first receive it. It's on its own after that. Look after it like a baby, but it changes it's own nappy!

[quote name='neepheid' timestamp='1368625652' post='2079369'] Neck profiles are more of a minefield. What the hell does "medium C" mean anyway? Too many flowery terms and not enough hard numbers. Get the callipers out! >>>> Amen, to that , Bro'. I'm still not sure of the difference between 'C' and 'D', apart from one being backwards. I want dims! Remember also that fingerboard radius plays a part in the overall feel of a neck....[/quote] >>>> Yes, of course, but I can understand people when they talk about that.

[quote name='neepheid' timestamp='1368624791' post='2079351'] You aren't helping with your generalisations in brackets there, chief. There are G&Ls with wide/thick necks and ones with thin/slim necks. USA G&Ls have the option of both. Tributes are wide/thick (L-2000), thin/slim (SB-2) or somewhere inbetween (M-2000). In short, it isn't correct or useful to use G&L as an entire brand to aid your understanding of this matter. [/quote] Fixed, thanks!

I have been reading around about neck profiles lately and with lines like bass neck being 'thin, like a Jazz' or being 'fat, like a '62 P' and I've not fully understood what the person was saying. Can I suggest standardising the terms to the following - or better - if only so I can understand what people are saying? Referring to nut length[list] [*][b]Wide neck[/b] = long nut - (P) [*][b]Narrow neck [/b]= short nut - (Jazz) [/list] Referring to fingerboard to back of neck[list] [*][b]Thick (or fat) neck[/b] = usually rounded section, larger distance from fingerboard to back of neck (Hofner Beatles Bass) [*][b]Slim (or thin) neck [/b]= usually flatter section, shorter distance from fingerboard to back of neck (Early Stingray) [/list]

[quote name='LukeFRC' timestamp='1367609658' post='2067634'] ... i know a shop with a USA L2000 for the same price as the galleries korean one... (I think would need to check) [/quote] Really? which one?

Probably, this is helpful: http://www.prsformusic.com/aboutus/FAQs/copyrightfaqs/Pages/default.aspx

[quote name='chris_b' timestamp='1368396526' post='2076671'] Standard business practice. Fold company ABC, trading as XYZ, start a new company, HJK, Still keep trading as XYZ so the public sees continuity but loose all the debts of ABC. That scews all suppliers and existing customers! [/quote] This is why the Football League tries avoid the Ken Bates type dealing with Leeds (putting the club into liquidation, losing all debts to a couple of pennies in the pound and then re-emerging) by punishing football clubs who go into administration. No such overarching body controls shops in this way.

[quote name='BigRedX' timestamp='1368437741' post='2076934'] And you don't have to be published to get performance royalties from the PRS. You can (and anyone who performs their own songs live or is getting radio play, should) join the PRS as a writer member. It's fairly easy and AFAIK essentially free. You earn money every time you play your songs at a gig or recordings are broadcast and if you are reasonably prolific it can add up to a substantial sum. My band pretty much paid the recording costs of our forthcoming single from live performance and broadcast royalties of the last one. [/quote] This - I don't know why everyone who performs original material don't do it. (Presumably, once the precedent has been set for receiving monies from performing the song it has been legally recognised as your song.)

[quote name='Geek99' timestamp='1368430954' post='2076842'] It's important to distinguish between copyright and publishing (in the legal sense). If you hear a song being played, and you're influenced, even subconsciously, to create something similar then the other party have a claim potentially, whether its useful or worthwhile pursuing it or not is another matter. As said above, you need proof of your contribution or your prior art in creating it in the case of just hearing it in a pub So tab it out, write it down, record it on your phone, then send it to a third party. You don't need a lawyer, just someone reliable, perhaps a parent. Put a statement on it, verbally or written of the date and your name. [/quote] I'm pretty sure that even if you do that, while it might win an argument between parties, if it's unpublished work there's no legal weight to it. A mate of mine runs this little business, and he knows this sort of stuff, if you drop him a line he'd be glad to provide what, to him, would be a simple answer. http://doxmedia.co.uk/

[quote name='Lozz196' timestamp='1368186969' post='2074194'] I prefer to use open strings if possible, same sound, but less work. [/quote] I honestly believe this is Jamerson's reason too. He was an upright bass player and the easiest place to play is in the first position. Not sure he ever went beyond the 4th fret! I find it a fun challenge to keep down there (like most I gravitate to most playing being around the 5th fret region). For an original song we arranged (in what we hoped to be) Motown style I self-insisted to play it in the first position, open strings to boot.

As I understand it, you need to publish a song to get royalties through the PRS. Once published, you have no control over who uses the song, but whenever they do you should be credited and receive payment through the PRS. You should even receive payment if you play it yourself in a PRS licenced venue. The plan to credit the guitarist is a good one, he will receive any moneys due to him from sales/performances of the song. As you say, this will probably amount to little and so it sounds like he is more objecting to the principle of using 'his' material than worried about lost income. Odd, if I had a riff acknowledged to me in someone else's song I'd be chuffed! The issue with sampling etc comes to blows when permission and credit is not given (or the copyright somehow excludes this - you won't find any Pink Floyd stuff sampled). It's been an unexpected and fruitful source of income for the original artist when it's done properly.

[quote name='JapanAxe' timestamp='1368392739' post='2076601'] That's how I run my band. [/quote] Yep - same here.

[quote name='Telebass' timestamp='1368340933' post='2075768'] The idea was to avoid extraneous talking by getting some stuff clear in my mind first. [/quote] Fair enough, that's a good idea. I was meaning finding out about the potential other members. Unsympathetic partners, jobs which become tricky are all barriers to harmonic forward motion.

[quote name='BetaFunk' timestamp='1368362852' post='2076068'] I'm waiting for the day when a major car manufacturer rolls out a sparkling brand new car straight off the production line then wheel it over to their development centre where a team of engineers set about it with baseball bats and beat the crap out of it giving it that 'road worn' or 'relicd' look. It's only a matter of time. [/quote] Been doing it to Jeans for ages. Also it's been popular with copies of antiques for the home. Don't buy any if those either.

Its a lovely bass, great story too. I'm afraid I'd be keeping it as it is, with all that history and 'mojo', makes the bass for me. 'Burst is unusual and the J pup, while I agree looks better without, is still part of its history and how this particular bass is. How about selling it for another, more standard bass? Its a great bass, really nice.

I'm a slim neck devotee. My Pre-EB 'Ray and Sabre have slim necks and I find them very comfortable. Rounder, thicker necks make my thumb ache as has occurred with my recently acquired HH 'Ray! I'm going to experiment with an asymmetric neck on the HH 'Ray which is otherwise rather clubby. (The bare wood makes this easier for the expert luthier who will be carrying out this task.) I will report back after I've used it for a while.

[quote name='Telebass' timestamp='1368301413' post='2075543'] ^^^^ And this was indeed what prompted the thread in the first place. Although it was and is a wish list, how else do you formulate what you want/expect? [/quote] By talking. tbh a lot of the practical stuff can be got around if the will is there. It's surprising how practical stuff can get in the way if the will is not there.

[quote name='dave_bass5' timestamp='1368266805' post='2075048'] It's like a British Thomanns lol [/quote] Aren't they the ones who have taken them over? Might save a few quid I suppose, but I'd still rather pay a few quid to go to my local shop.