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Amplified blues harmonica can really grate when overdone. Part of the problem is that many insist on cranking bigger amps than most guitarists use in those settings (often a 4x10" Fender Bassman derivative), the other thing is overblows. Overblows have some sort of prestige status as the advanced technique that a good player must have, so once players have mastered them they'll shoehorn them in wherever they can. But what overblows do is get you a harsh toned, usually slightly out of tune note that's outside of the key you're playing in, so absolutely excruciating if overused.

Harmonica and solo sax (as opposed to horn section) are predominantly lead instruments, and many of these players don't seem to know what to do when it's not 'their turn'. Really good players will be able to riff with the guitarist, which is why, if you find one that does, hang on to them!

@Leonard Smalls wireless is the answer; honest. Forgot it at my last two gigs and trod the cable out twice.

Fabulous advice!

Great, narrow or original nut width? This is very much my aspiration, having owned four of them. I'm not sure how much of the Cutlass sound was due to the less rigid neck though. I guess we shall see, I'm definitely planning on getting an SR5 neck made for my Classic 5 and then it'll be the closest thing to a 5 string Cutlass out there, with the vintage eq.

Lol oh. I played the eich t500 at the bass gallery last year. Sounded nice. If I remember correctly the eich has a similar feature of genzler contour.

I occasionally pick up my fretless, do a couple of slides, play the bass solo from Lost Horizons (Mo Foster in the first MSG album), noodle about for a while, and then put it back down to wait for the next occasion. One even rarer occasions, I pick up my Ashbory, but between its miniscue scale, being fretless, and rubber strings, it's almost impossible to play anything even remotely in tune.

@Raslee and @RaNoFuNkY mentioned they would be interested in a narrow SR4 neck with a 38mm nut (and there are some wooden necked versions out there in the wild.) As I've mentioned in the other threads, I can only work in batches of 5 right now to keep the price reasonable. So if you would be interested in a narrow SR4 neck, let me know below.

I might bring two or three Rickenbackers, none of which sound precisely the same! 🙂

EICH T900 !

The only way I can deliver a 38mm nut on an SR4 neck at the moment is if the whole batch is the same. So others would need to indicate some interest up to a MoQ of 5. Let me set up a separate thread and you can add your name here. Production capacity is ten necks per month as we are a tiny operation.

There are always examples of players who can excel when being busy, but that's not the same thing as overplaying. A good player like Jamerson does both simple and busy. Overplaying is almost always negative, and comes with a lack of rhythmic ability, lack of good note choice and clarity of execution. Jack Bruce and Francis Rocco Prestia are more examples of very busy players who got it right.

So, the Chinese seller on eBay is using pics of a real Ric. Of course, you wouldn't get one of those in return for your money. I'd report it to eBay, but their "AI" would probably say nothing wrong.

First bass: Cheap semi hollow something…wish I still had it Go To bass: Peavey Dyna bass 5 My Bass: Pedulla MPV 5 Honerable Mention: Spectracore 5 Fretless

Ah - works now!

He does. He even replied to me on talk bass. You sold me on the sound tone hammer and barefaced one10. Just couldn’t find a place to hear it.

It's impossible to overplay bass. I've found it's not so much an instrument as a person. There's always someone who's got to be making a noise all the time. Candidates from my experience have been percussionist, gob-iron player, and acoustic guitarist.

Diamond Meadows - T Rex

It's an interesting area - the Krivo magnetic pickups manage to be a little clearer and more "acoustic" sounding than older designs, presumably using some of the same tricks that modern acoustic guitar soundhole pickups do (controlled microphonics, lower inductance, neo magnets). But no commercial magnetic pickup for bass has cracked the bow response issue yet - because the string vibration is dampened in one plane when bowing (up/down relative to the pickup position), you get unpredictable volume and weird barky attack when bowing with most magnetic pickups. There are a couple of cello systems that place polepieces in between the strings so that they sense the movement in that lateral plane more, but I haven't seen that tried on bass.

If you’ve ever played a James Jamerson bass line, you might have wondered about all the chromatic notes present and how they work musically. Well, there’s a particular technique that Jamerson used, which is more commonly found among jazz musicians. This technique is called an ‘enclosure,’ and utilising it in your bass lines will enable you to play smoother, more hip-sounding lines. I’ve just released a video where I analyze a few Motown bass lines so you can understand how enclosures work. In the lesson, I go on to show you how you can use enclosures when creating your own bass lines. I’ve also created a challenge for you, which you’ll find toward the end of the lesson. This is a new idea that I’m trying out for the channel, so I’d love as many of you as possible to get on board—you might even get featured in one of my future videos! You’ll find the free PDF download link in the video Enjoy!