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As apposed to what, debating over the merits of the value of a bass none of us are going to buy? 😂

I said that, that with Pollock it's all about the concept and originality. I’ve seen many of his paintings, and own a few JS original pieces, and don’t think the execution is better with Pollock, in fact, having studied both, I think JS is far more creative. I’m also fairly certain that JS wouldn’t have created his pieces without Pollocks work preceding his own, and influencing him having defined the style, as you say. I think you contradicted yourself, but we’ve probably digressed from the appeal of an original ‘55 P bass. I won’t even start on original £200m Ferrari 250 GTO’s and their much more reliable £70k replicas. The fact is, the same people aren’t attracted to both. And that’s the point I think.

I guess when you see the scale and execution of a genuine Pollock (which are bigger than garage doors) you really can see the difference. Jackson defined the style so by nature his execution is the best. And there is huge skill in it. Maybe give it a try. (I did as part of an art course and much of Pollocks work is much more conceptual than it appears at first glance). Leo was a trailblazer who automated, systematised and refined his craft. He’s the Henry Ford of guitars. Beautifully crafted designs made from cheap components that are endlessly produced (and emulated). They’re things bolted together by low paid workers. That original ones have survived unmolested is surprising and that’s why they’re collectible.

All or Nothing - Small Faces

How you getting on Rob? I’ve taken a few steps back, trying to solidify knowing what scale degrees are under hand at all times. I was getting a little too comfy playing patterns, but then maybe that’s a good thing - to go with that you’re hearing instead of over-thinking it. Anyway - more playing of the examples along with tracks is needed for me. I’m still just sounding like an exercise, which is a little demotivating.

Well, like everyone, you’re entitled to your view. As a bass player and collector, and artist (very poor amateur), I don’t agree with your art appraisal either, if you’re saying the value is in the concept and execution, I think those are two different things, Leo had the concept, so puts replicas in the shade, and regarding execution, do you think Jackson’s execution was any more skilled than others that have done it since and copied, like John Squire for example? I personally don’t think so. That style doesn’t need skilled execution, it’s all about the concept and interpretation. Which bringing back to guitar terms, Leo was a trailblazer in every aspect of his craft.

I’ve owned both, and no it isn’t

They’re not comparable. A Pollock isn’t about a technique (see Ed Sheerans Pollock-esque paintings), it’s the value of the concept and the execution. I’m highly negative about the vintage bass market, but these all original models genuinely are rare and obviously highly valuable because of that. I don’t think it sounds any better than any other single coil P bass but that’s me.

Apparently Nothing - Brand New Heavies

It's built up over time, using successive versions of the same platform (The MOD Duo, then the first version of the DuoX, then the more powerful version - I've got a MOD Dwarf as well that I really need to dig into further, but it wouldn't run all of this!) - so the development has been near-daily tweaking of it for close to a decade! I've saved some of the iterations of it, but not enough of them! Every now and again I hear a thing I recorded a few years ago and have literally no idea how I got that sound 😆

Wow that is a lot! Mine is really simple compared to that, I think I need to experiment a bit more

In theory you could say that about a £100k Broadcaster too, and I agree that John does great work, I have one of his basses. Or a £45m Pollock painting, which, as an artist I could replicate in 45 mins. I’m pretty sure players/collectors don’t care for that though. Just saying.

Probably the easiest Fender to replicate. As an eg, a Bravewood with the right tuners is pretty much indestinguishable from an original. Just saying.

here's the latest version of my pedalboard, all inside the MOD DuoX Every purple line is an audio path, and every blue one is MIDI. It's one in (though it could be stereo) 6 out (three stereo pairs). The parallel audio paths include an ambient path that's all reverb/delay, one that's all pitch-to-MIDI, and one that's glitchy weird sh*t. it's all controlled via a Keith McMillen Softstep and Quneo, the MOD Footswitch and two Dunlop mini expression pedals. The only additional outboard at the moment is a Dunlop volume pedal, a Dunlop Wah (alternate between the mini bass wah and the Justin Chancellor), and a Nordstrand Starlifter.

Another jazz one rescued from my Sibelius folder that time forgot. Ray Brown playing very simply (for him, at least) on an F blues, almost everything sits in half position: Full transcription here: Ray Brown F Blues transcription

Bought some strings from David. Arrived quickly with great comms. Thanks

Very cool, and now I want this.

I would take everything that man says with a grain of salt. He’s definitely no expert bassist.

Could I just say how refreshing it is for someone to ask a question about actually playing the bass.