skej21

[quote name='Machines' post='1302252' date='Jul 13 2011, 12:56 PM']I nearly liked it until I saw the weird top horn plus the lower cutaway looks a bit extreme. Thomann has the price for the 4 string at £527, that means it's going to compete with Tanglewaters, Sterling by EBMM, G&L Tributes etc. Not sure if it'll be a big success based on the looks, but the tonal options should be pretty good.[/quote] Personally, I can't see this competing with any of those basses, purely based on aesthetics. As a bassist who loves the styling of the Tanglewaters, G & L tributes and Sterlings, I can tell you I wouldn't go anywhere near this monster and I imagine most people with similar taste would agree. It's utterly hideous! I could see it competing with Ibanez and other more "metal" looking basses... possibly.

[quote name='dc2009' post='1303263' date='Jul 14 2011, 10:02 AM']At age 11 I'd have to recommend 3/4 size, short scale, something cheapish to get him going until he grows. I started at 14 and my hands were not up for many of the stretches I can now perform. Better to learn correct technique on something smaller than to struggle along on something too big for a few years IMO.[/quote] Have to disagree. Having taught music in secondary school to pupils from 11-16, I've never had a 3/4 bass or the use for one. I had one pupil who had one and brought it in, only to tell his mates that his dad (a guitarist) bought it for him because it was guitar size but easier to play because it was a bass, and he would move onto guitar when he got good enough *rolls eyes*... At the end of the day, if he's learning "the correct technique" as you put it, ideally he'll be playing in the first 5 frets really. The difference between short scale and full size electric bass guitar is never drastic enough to make enough difference to justify restricting a pupil to a 3/4 size IMO. If we were talking double bass it would be a totally different story. I only say this because I think the OP should consider all the options in this thread, and not restrict himself to only 3/4 basses. As for my recommendation, a Squier Precision is a good idea. Give him a bass that really is a bass and let him decide whether it's for him or not!

[quote name='Pete Academy' post='1301522' date='Jul 12 2011, 08:08 PM']Pino. Nuff said. Totally original. Instantly recognisable.[/quote] +1000000000000000000000 Jeff Berlin is just a bitter old man. Bitter that we was always standing in Jaco's shadow, and bitter Pino (and others such as Baghiti Khumalo and Michael Manring) have found success and individuality on a fretless bass and proven themselves to be better players than him by stepping out of Jaco's shadow.

Jeff Berlin is a Cliche. I sad, bitter old Cliche. That is all.

The main reason posting stuff to yourself is not often foolproof is because people usually don't put enough effort into making sure they do it properly. Simply posting a recording (which could have been picked up at someone's house) and then sending it through the post by regular mail, where there is no proof of the date or sender can easily make the exercise pointless. There is no way to prove that the recording belongs to you or that you did indeed send it on a specific date. However, if you do a couple of extra little things, then it should be a perfectly good way to ensure your material is not plagiarised. I know it's a ball ache but you would better off if you also transcribe the music (even a lead sheet or tab but obviously the more info and direction you can express in the transcription, the better) so that you have written evidence of your intentions for the song. Then make a recording of it. Then buy a newspaper from the date (i.e. today), fold that up and place it in an envelope with the transcription/s and the recording and get it sent to yourself via Recorded Delivery. The newspaper and the stamped date provided by the post office will prove the dates if you ever need to (and the letter details will be stored with the Post Office as they keep details on recorded deliverypost, including who it was sent to and the date it was sent), and the transcriptions and recordings will provide a definitive version of the song to compare any stolen version too, in order to make a judgement as to whether the intellectual copyright has been breached. Then once the letter is posted back to you, file it away and leave it unopened until you need it. Which you never will.

I started playing/gigging about 11 years, but have only studied/understood my playing/music for the past 6 years. High points - Playing at The Royal Albert Hall - Getting through my first paid reading gig - First paid gig in LANDAN - First recording session Low Points - Recording a backing track for one of the acts from the 2010 X-Factor finals - 98% of all the depping gigs I've done for "friends"

If he's such a good drummer, why does he hide behind a mask? *P.S. Like all highly-strung threads on here, this is quickly turning into a joke fest. Good times*

IMO, Fender don't try hard enough to give us more basses with a maple neck and white binding and pearl block inlays! Unlike the maple neck black binding/blocks, where you can have a Squier VM, one of these P basses, a Geddy Lee sig etc. Or the rosewood neck with white binding/pearl inlays on the Classic 70s MIM Jazzes or MIJ RIs. With maple neck and white binding/pearl inlays, it's either the Squier '77 VM Jazz or the Marcus Miller Jazz (which, IMO, is too modern in the aesthetics of the body/scratchplate/controls etc to capture the "classic" feel of the neck!) SORT IT AAAAAAAAAAAAT FENDER, YOU SHLAAAAAAGS!

[quote name='ead' post='1293323' date='Jul 5 2011, 01:00 PM']Loving the black hardware. I've a black 4-string and something similar would look good...I think the OW bridge is too good to change though.[/quote] Yeah, I totally agree. That's why the bridge hasn't been changed on mine

[quote name='dc2009' post='1291715' date='Jul 4 2011, 01:20 AM']Ahhahah, I was on about the other playlist because I thought you were, I will put atheist on the other playlist then perhaps, and wont tamper with the PP one, although it would be amusing to see your faces when it came on on shuffle! [/quote] Haha. I would probably just end up thinking "BLIDDY HELL! Pino played on this?! He really DOES play everything!"

[quote name='dc2009' post='1291710' date='Jul 4 2011, 01:11 AM']Now that, is some cracking bass. Tempted to put some Atheist on the list, the music will be disliked by most but the bass in undisputably fantastic. Check out And the Psychic Saw[/quote] Just to make it 10000000% clear. That spotify playlist is only for music in which Mr Pino Palladino plays bass! He never played in Atheist (P.s. There is another playlist somewhere that is a general "Basschat" playlist but I don't have it on my spotify, so you'll have to find it on the forum somewhere!)

[quote name='smb' post='1291697' date='Jul 4 2011, 12:39 AM']Con. No doubt about it.[/quote] + 100000000000000000000

If you're on spotify Bubinga, the BC Pino lovers (myself included) have started a community playlist that can be added to. I was REALLY suprised/impressed with the Daniel Bedingfield track! Immense bass line. SO much so, I've put it in here. I suggest listening to Pino's playing with D'Angelo if you're a fan of Pino's REALLY tasty grooves (Brown Sugar in particular)! [url="http://\"http://open.spotify.com/user/owen_liam/playlist/4J0KMwu3HUz9u2joumbZ2Z\""]Basschat Spotify Playlist[/url]

Piece of p!ss mate. You'll be fine. Personally, I only spend about 3/4 weeks of lessons going through the syllabus for Grade Exams with my pupils (Rockschool or LCM) because really, grade exams are just a limited number of specific hoops to jump through. It won't make you a better bassist if you learn a couple of Rockschool licks... you need to get out and play to get better. So just walk in, ace the exam and have it under your belt and start thinking about being a performing bassist again P.s. It's kinda like you're driving test. You don't really learn to drive until you've passed your test, and you soon realise that the "correct" way to do things (as told by Driving Instructors/Rockschool/Grade exams) is not always the best way in reality and when you realise that, that's when you really start to improve.

Just wanted to rave on about mine again. Played it at a festival two weeks ago (and haven't had the chance to get on here and shout about it's brilliance since!) and did some recording with it last week and both times it stole the show... both sound and aesthetics! Having played a number of Perception/Progress IIIs to compare it with, my Aspiration Contemporary J 5 can more than compete! Just wanted to say, truly GREAT work on these Chris (and the Overwater gang). Been trying to get my hands on one ever since I played my bass tutors Progress III and a couple of other Overwater models that mates own. I have made a few little changes to mine that cost less than £100 in total (black hipshot tuners and control knobs, just to make mine a bit more personal!) and now I wouldn't want to part with it. Next step, save up some pennies to throw at Chris and the gang for a Progress III! Sorry to bore anyone with this post, but for anyone who is interested or thinking of buying one, here's mine in all it's glory!

[quote name='warwickhunt' post='1287736' date='Jun 30 2011, 02:00 PM']I'm 99% certain that the band was booked as a direct result of either being fans of the band and/or mates of said band. I do concede that Si is right, there is nothing worse than a band just doing their normal thing to almost 'spite' the assembled masses at a wedding but this does appear to be a laid back affair.[/quote] Hahah, I didn't mean based on the musician situation or the actual quality of music... I just think the Mrs wouldn't have had the greatest first impression if I told her I had booked a band for the wedding and they were called "Someone Else's Omelette"

I'm glad this is not my wedding lol

SNAP! (Do I get to keep yours now?)

Looks great, Chris! + 1 to the comment quoted. I'd be really interested to know if you'll be selling strings through the website. If not, how can I/we get them? [quote name='BigRedX' post='1284380' date='Jun 27 2011, 05:32 PM']I couldn't see a link for buying Overwater strings on line. Are you still offering this?[/quote]

Bought one of these on here a while back. Brilliant bass for the money. As good as the Classic 70s MIM Fender Jazz I had. Love the white binding and pearl block inlays. The neck is very good for the price. Gigs well too To anyone thinking about it... buy one! Greatfor mods and thrashing about, whilst having the luxury of the classic/vintage Fender look

[quote name='leezo666' post='1283112' date='Jun 26 2011, 04:25 PM']Ive got a Korg Pitchblack which is pretty nifty, you can change the display to look like the red light bit on the front of KIT from knight rider which is really useless and actually quite hard to read but it looks pretty cool. I tend to just keep it on the default setting though which is really easy to read.[/quote] + 1 for the Korg pitch black I have a rack Korg DTR-1000 and the Korg pitch black and usually switch between the two (depending on whether I take my gear or I'm using someone else's) It's simple to use and does the job... and it's black. The white of the Polytune/Boss TU-2 is bloody awful and get's dirty too quickly IMO. The Pitch Black also works well to mute your signal between songs, which is pretty useful to have at your feet for pit work

[quote name='Happy Jack' post='1281129' date='Jun 24 2011, 03:30 PM']What about the string spacing?[/quote] Definitely enough space for my sausage ([size=1]fingers[/size]) to get in the gap!