Fat Rich

[quote name='BigRedX' timestamp='1330090482' post='1552560'] If you do go for an instrument that is already worn (either real or fake) just make sure that the existing wear patterns are consistent with you playing style. There's nothing more fake looking than if you start adding your own wear in completely different places to what is already there. For example there was a review in one of the guitar magazines of some relic'd guitars one with a maple finger board showing typical finger wear. However if someone saw me playing that they would instantly know it was fake because they'd be able to see that the existing wear pattern was nothing like what it should be based on what I play. [/quote] People's playing usually evolves, most of the wear on my older basses is around the bridge pickup and some scratches under the D and G between the end of the neck and the neck pickup from playing slap. These days I'm usually playing fingerstyle around the neck pickup, plus I've recently started learning to play with a pick. In 20 years time I'll probably have worn some new holes in the finish. I also reckon if someone noticed the wear patches on your bass don't match what you're playing then they're probably stalking you!

[quote name='Lozz196' timestamp='1329896619' post='1549130'] Using open strings is essenitial, if in a rock band and wanting to make the devils horns sign, whilst playing. [/quote] An often overlooked technique, as is the sweeping round the audience with a pointing finger.

[quote name='TRBboy' timestamp='1330086599' post='1552445'] Personally, if I had the money to buy a brand new one, I would want it to be all shiny and new. If you're into aging, the Sandberg guys do an excellent job of it, but it's not for me I'm afraid. You wouldn't go and buy a brand new car from the showroom with rust, scratches and dents! [/quote] You obviously weren't buying cars in the days of British Leyland

When Stevie Ray Vaughan, Jaco Pastorious, Billy Sheehan or Bobby Vega roll up with a worn out instrument they have the chops to back it up. I think some people might have higher expectations of your playing if you show up with (what looks like) a well gigged bass. Edit: I'm not suggesting there's anything wrong with your playing!

Always find it odd that some people need a ramp to stop them digging in, or need to feel something under their fingers whether playing over the pickups or in between. Makes sense as a thumb rest though.... whatever works for you I guess.

[quote name='jojoagogo234' timestamp='1329836935' post='1548193'] i live in lewisham (london). theres a bar/ venue thing down the road from me called dirty south. its a nice venue the other day my mate paddy was sorting out a gig down there with one of his mates bands who were meant to play, however they pulled out at the last minute. so he called me up and asked me out of the blue to come down and jam O.o . so me and a guitarist mate of his (paddy himself plays drums, and is really REALLY good) had to jam out some songs we both knew. we had this one problem that has allways pissed me off about guitarist...... a floyd rose -_- . we wanted to play some songs in drop D that everyone would know (killing in the name of, heart shaped box ect) but we couldnt because of that f***ing FLOYD ROSE !!!!. basicly my point here is. has this ever happened to anyone here ? (both the call to come down and at the last minute and have to just figure out what songs you all know, and the floyd rose) joe [/quote] Simple, get him to put a capo at the 10th fret. If he doesn't mind sounding like George Formby.

[quote name='S9_S12_Bass' timestamp='1329813418' post='1547621'] Very nice!, what are the tone differences between the two Rich? I would of thought the maple neck would make it a bit snappier? [/quote] Yes, generally a bit brighter although I'm no guitar expert!

[quote name='Tankdave' timestamp='1324836119' post='1478046'] I'm still a bit new to this "B-String" thing, so please be gentle with me. I have a question about the right-hand technique. First I'll explain how I play a 4-string. I rest my thumb on the E-string and rather automatically, my thumb moves to rest on a pick-up when I need to play the E. With my 5-string, I now rest the thumb in the B-string unless I'm playing it, so same technique, just a different string OK. So the issue then... I'm noticing "open E-string" noise now and then, "obviously" because I don't have my thumb resting on it, keeping the sucker quiet. Do I just modify my technique, so that I still rest my thumb on the E-string? this way the side of the thumb also mutes the B? or am I missing a trick or two here? Cheers [/quote] I often wedge my thumb in between the low B and the E string thus muting them both, then hop it up to the B string if I'm playing E, hop up to the pickup if I'm playing the B. [quote name='Jakester' timestamp='1329414709' post='1542195'] I've just made the move from 4 to 5 for a second time. The first time was a total disaster. The second was almost intuitive - I didn't worry about the extra string at all. My (probably very bad) technique is to use the first two fingers to pluck, with the ring finger muting the lowest string unless I'm playing, and the thumb on the pickup. As I go up to the A, D and G my third finger mutes the lower strings, so I find myself playing more one-fingered on the higher strings, but it seems to work as the D and G can be controlled with the left hand as well. Does this make sense? Is it completely wrong? [/quote] But I also do this sometimes, having my spare fingers resting usually on the E and the A (although I would say work on keeping both fingers alternating whichever strings you're playing). I'm not sure which technique I do where, I've worked on both techniques to the point where I don't think about muting unless I have a problem. I also do a fair bit of left hand muting as a result of trying to play with a pick and the slap technique and finding all my existing muting techniques didn't work, this has also tightened up my fingerstyle playing. I would say try as many new techniques as possible because there's no wrong or right answer, just what works for you.

[quote name='EBS_freak' timestamp='1329507992' post='1543715'] Knew I'd heard that name before... [url="http://www.classicandcoolguitars.co.uk/basses/warwickstevenson6string.htm"]http://www.classican...nson6string.htm[/url] [/quote] That looks like a lot of bass for £800 which shows you should be wary of resale value of custom basses. On the other hand, that looks like a lot of bass for £800

[quote name='TheGreek' timestamp='1329165890' post='1538317'] I think it's Lake Placid Blue but I am guessing...I think it lacks something in the tone department..I like a warm "coffee" tone - sort of 80s funk sound with lots of mid tones (reminiscent of Jaydees/ Alembics and Wals) but unfortunately the Highway just doesn't do it for me. There have been suggestions to change the p/ups and install an East preamp - to me this defeats the purpose of buying a factory instrument - Fender should have installed the right p/ups in the first place. As I said I'm going to give it a chance to grow on me but when I played earlier today I went straight for my Status - I didn't even think about the Fender...doesn't bode well for it's future I'm afraid.. [/quote] There's a reason I play both Status and Fender, they're completely different animals with very little overlap in tone. The Status can do a reasonable impersonation of a "Super" Jazz or "Super Precision" as well as all the other modern bass sounds plus the characteristic "Status" sound, but if you want that classic Fender vintage sound you need a basic unmodified Fender and I reckon the Highway 1 would probably do the job. I wouldn't bother swapping the pickups or adding a preamp as I doubt it will get you the sound you're looking for, also it won't sound like a Fender anymore either! Edit: To sort of get back on topic some HW1s, sorry they're only guitars: [IMG]http://i751.photobucket.com/albums/xx159/richardmatthews_photos/forum%20stuff/HW1.jpg[/IMG] [IMG]http://i751.photobucket.com/albums/xx159/richardmatthews_photos/forum%20stuff/HW1Body.jpg[/IMG] [IMG]http://i751.photobucket.com/albums/xx159/richardmatthews_photos/forum%20stuff/HW1Head.jpg[/IMG]

3x MIJ Jazz basses: '62 reissue, Marcus Miller 4 string, Fretless. Maybe not the very best Jazzes out there but in my experience the quality is usually excellent and MIJ used to be dirt cheap / great value. 1x MIJ Precision: '62 reissue. Great P bass sound but I prefer the feel of a Jazz neck 1x '78 USA Jazz: very heavy, neck like a baseball bat, poor build quality but somehow very enjoyable to play

My Status basses are 35" scale length 24 frets, the longer scale helps the low B to be a bit more focussed and have the same tone as the other strings rather than an indistinct rumble. Which means I can use it a bit more without sounding like the bottom has fallen out of the song. My Fenders are 20 fret 34" scale length. I'm starting to venture up to the dusty end of the neck after 20 years of grooving at the business end, the only problem I'm finding switching between 20 / 24 frets is that I sometimes jump to the wrong fret because I seem to take the end of the neck as a visual reference. Some people say you get a better slap tone with fewer frets but I can't say that's ever been an issue for me.

Don't make another record Mr Dressmaker

[quote name='Hobbayne' timestamp='1329389832' post='1541592'] [color=#FF0000][font=helvetica, arial, sans-serif][size=3]"I've trained myself not to laugh or smile. I watched a hundred hours of the Three Stooges; every time I felt like smiling or laughing, I jabbed myself in the stomach with a cattle prod."[/size][/font][/color] [/quote] I wouldn't worry, after all that exposure to shocks you're probably immune.

[quote name='Ou7shined' timestamp='1329308820' post='1540335'] A little too quick... for full custom builds methinks. edit : Ah there ^ you go. [/quote] I spoke to a well known British bass builder a while back and asked how long it takes him to a build a bass from scratch including neck, body, custom active circuit and winding the pickups and he said 2 weeks I asked if that included letting the paint harden and polishing time and he said sure, 2 weeks from start to finish. But he made it clear that he never gets the chance to focus purely on building only one bass, he's always got urgent repairs and setups, sourcing of figured wood, hardware, accounts, phone and emails to answer, shows to attend. Plus a waiting list for new builds. As a result it can take up to 12 months to get a bass from him.

I've a couple of basses weighing in about 11lbs (Status S2 bolt-on, 78 Jazz) and they seem to sound a bit snappier than the others but with lots of oomph. More of a scooped sound I guess, I could probably replicate the sound on the lighter basses with some careful EQ work. I'm lucky that although I have a few back problems strapping a bass on doesn't seem to make much difference, I guess I'm hauling nearly 300 lbs around all day anyway an extra 11 is no biggie

Maybe try it in a band situation before ditching it, Fenders have a strange habit of fitting in really well despite sounding a bit ordinary soloed. You'll probably need to adjust your EQ settings as it's a world away from the modern sounds some of your other basses give you, don't be afraid to give it plenty of midrange. Plus as has been suggested before it might benefit from some better pickups.

[quote name='simwells' timestamp='1328874825' post='1534072'] It does seem to be somewhere close to 30 years but 80s ones in ten years I wouldn't expect to be worth the same as 70s now unless they're a particularly rare model. Price tends to be based more upon rarity than the age itself and Fender gradually produced more and more instruments. I wouldn't expect current production basses to be worth much for more like 50. [/quote] At the moment I think you're right, however I thought that about 70s Fenders when I started out playing 20 years ago. I guess it's like most things in life, it's as well to have half an eye to the future and think ahead.... but not so much it holds back what you're trying to achieve now.

The early Japanese reissues had a tortoiseshell that was almost red, nothing like the original ones from the 60s. Also some of the Japanese necks have a slightly different dimension to US basses so you may need to do a little filing to get a good fit.

[quote name='peteb' timestamp='1328828767' post='1533553'] Ain't that the truth! Does anyone remember the early / mid 80s when a late 70s US Fender Precision was thought to be a basic workhorse bass that used to traded about between friends for £200 - £300? I used to put a Badass (or sometimes Schaller) bridge & EMG pickups on every Fender that passed thru my hands - the one that I kept for years was totally unoriginal, complete with all black hardware and stripped back to the wood (after I saw the P bass being used by Paul Rogers' bassplayer on the Muddy water Blues tour)! I ended up trading it for a 90s stingray and a bit of cash on here, but I reckon that I probably lost about £500, maybe £600 off the value if I had kept it all original.....! [/quote] Exactly, I put EMGs in my Japanese '62 reissues, ditched the pickguard and got them bashed and scratched at gigs. Fairly recently I've realised that to get the Fender sound it's best to have the cheap old pickups and Bent Bit Of Tin bridges so now they're back with their original components (luckily I never throw anything away!). It's probably hurt the resale value although I'd probably still get much more for them than I paid 20 odd years ago. Interesting to hear some of the early 80s instruments are starting to be sought after.

Following on from the "Work of art or tat" thread, a few people here seem annoyed that a 50 year old Les Paul has been blinged up with expensive materials and believe it should have been left alone (I agree although in this case it sounds like it had already been ruined). When I started playing in the mid 80s, pre CBS Fenders seemed to be considered "Classic" and collectable. 70s and (the then current) 80s Fenders weren't given the time of day by some players and were mercilessly modded, refinished or generally neglected. Even some scruffy pre CBS instruments weren't considered collectable or particularly valuable. Now it seems that CBS 60s are worth a lot, 70s basses are fetching good money but I'm looking at my battered '78 Jazz knowing it would look much nicer with the body stripped or repainted but I'm wondering if this is this some kind crime against classic instruments? If it was an 80s Fender would that be OK, or a 90s? I can understand limited editions from the 80s or 90s being valuable and also early Fender Japan examples being sought after now, will the rest become become valuable collectors instruments in say 20, 30 or 40 years time? I wondered what age of Fender you'd consider fair game for some serious modding / refinishing or generally abusing, and when they should be left in all original condition and cared for as a future classic. Edit: I narrowed it down to Fenders as they seem to be the most popular brand on Basschat, basically have only a couple of models that haven't changed much over the years.

Are HW1 Strats allowed? Very pleased with mine and all the guitarists who play it seem to love it. Am very interested to try the bass HW1s and I'm surprised there aren't more of them on here.

[quote name='cytania' timestamp='1328775552' post='1532369'] First off, there's nothing to say you can't have several bass tutor's and see them as you feel fit. It's not a martial arts film master/pupil thing... :-) Beware 'not taking your medicine' syndrome or even not understanding what's being said but, you need to look at what you like about this tutor's playing. Were you complimenting his playing in a 'that's nice' way or do you _really_ want to get that style? The guitarist turned bassist is a sort of sub-style (seeing alot of it on TOTP on BBC4) so understanding it's [s]handicaps[/s] peculiarities does help. Try some other tutors maybe in a few months you'll think; 'Hold on I get what that guy was saying' and you can reconnect. [/quote] Exactly, the more people you learn from the more you'll learn (usually!). One teacher may recommend a certain technique, another may dismiss it and recommend something different.... it forces you to figure out what works best for you. For example my first teacher played with a pretty regular style and muted the strings mostly with his fretting hand and with the thumb of his picking hand sitting on the E string or occasionally the A. My next teacher muted almost exclusively with his picking hand and had a really tight staccato style so I tried that too. I now use a combination of both techniques to suit what I'm playing, leaning towards picking hand muting for punchier lines and fretting hand muting for more laid back stuff. Similar thing for slap, I learned the way my teachers played but ended up finding my own way which works better for me. Some people shy away from lessons or music courses because they think they'll emerge at the end of the process as some kind of clone, that shouldn't happen if you've a strong musical personality and even less likely if you learn from as many people as possible. Plus there are plenty of top players who still get lessons, even though some are considered masters of their instrument. Never stop learning!

My old P bass neck survived being a 5 string for 20 years, not sure I'd do it with a Jazz neck. If you look closely you'll see the B string hanging over the edge of the fingerboard the further up the neck you go, not ideal. I think you'll find the spacing too tight on a Jazz, and finding a bridge narrow enough will be difficult. Maybe use monorails: [url="http://www.thomann.de/gb/abm_3710g_single_bass_bridge.htm"]http://www.thomann.d...bass_bridge.htm[/url] Edit: It's back to being a 4 string now

[quote name='razze06' timestamp='1328717040' post='1531608'] I have low B already [/quote] Ah well, you're in business then! You might find the strings sit a little high in the nut due to the increased guage, hopefully it won't cause you too much of a problem. If you decide to stick with it you can think about opening up the slots with a file or getting a tech to do it.