visog

Struggled with what you were asking actually as you used a double negative meaning it is extremely comfortable. So... you're going against your better instincts. Oh well, given you're using a flawed medium, lets set to it... I suggest you bring it back to good technique and posture. Check you're sat or stood upright with a straight spine. A nice clean 'scratch your eyes out' left hand with the thumb mid-neck behind your second finger. Slow careful scales with just sufficient pressure (check out Gary Willis) and get used to the sensation in your pinky with very deliberate good technique and posture. Suggest you baseline the situation with that approach and if you still get problems, refrain from playing and go to the doctor.

So, not being a negative Nancy here but isn't that minimal change/improvement? Or is this view misleading and it actually has a more dramatic effect audibly?

I agree with the previous posters. Your three-note per string patterns present themselves so nicely with that extra string and having string platforms for octaves across a whole three string x three notes scale shape is great. Need a good bass though so the tone doesn't change between the 'E' and 'B' strings. So to the OP - Are 5 strings worth it? Yes absolutely!

God yes I went through the whole B-Social debacle too. I get the impression that their premium lines are good but their scaled mid-lines have the issues.

All good advice. Relish the space... fatten up your tone (DK retail therapy) and busy up your lines. Seek inspiration from Geddy Lee!

As I recall, Jaco used to try and mimic Frank Sinatra's vocals on his fretless...

Erm is this going to fly. Do the pole-pieces line up? What's going on? It's madness?

"It's frothy man!"

Ooh, ooh, ooh me next. Yes rule the universe. So to the OP's question: Close to the Edge - so good I rarely listen to it. I check it now and again to see if it's perfect. And it is. So I need working Yes albums to listen to so that would be Fragile, The Yes Album and Relayer. I'm fond of Topographic too. Going for the One is wonderful. Tormato was flawed but fun. Thereafter, not really Yes for me. Classic line-up for me were: Anderson, Bruford, Wakeman, Howe & Squire. Each with their own brilliant voice...

eh?

Read through the thread and I think I'm right in saying no mention of Rush's own self-confessed low-point on 'Tai Shan' from 'Hold Your Fire'? I find the early albums a bit, 'Led Zeppy' but enjoyed '2112' onwards until 'GUP'. I quite like the rest of 'HYF' & 'RTB' but lost the plot thereafter... But great band and musicians... **Edit - sorry to honour the OP, 'Moving Pictures' narrowly pipping 'Permanent Waves'. Replicating the awesome 'Fragile' being clipped by the god-like 'Close to the Edge'.

Well building your RTF, their most funk album is definitely 'No Mystery'... 'Dayride' is a trip in itself...

BTW is a great song... And I love AL's solo... Who's going to kick-off the whole 'best bass tone' thing here? Me! Ricks & Jazz on PW/MP - the later Steinberger and Wals sounded terribly flappy?

Hmm side 1 (the first hemisphere?) is the same song repeated for a good deal.'Trees' is my entry-point though... My favourites are 'Moving Pictures' and 'Permanent Waves'. Oh wait, maybe my entry point was, '2112'... I remember thinking that this guy sounds like Chris Squire so I'm in!

Eh? I can sing ten McCartney lines of the top of my head right now - each has a form, melody and shape. You stick to this:

I've no memory of a single note or line he's ever played.

Bass demo here: Some nice reverbs but the shimmer sounds a bit metallic? I aiming for a softer pad sound but I'm sensing you can only achieve that on the expensive units...

Mr Peevly

Getting a strong Gary Willis GWB vibe of this...

It was an regular Gibson Thunderbird wasn't it? Admit it... P.S. No-one's suggested an Ibanez Iceman yet?