mcnach

Ha! It turns out I bought THREE of those, not two I bought them sometime in 2011. Two white ones with rosewood fingerboard and a trans-blue with maple fingerboard (that @tom1946 found near him and arranged to buy for me, thank you Tom! ) The pickup was the only thing I didn't want to keep. Sounded good at home but in loud environments they were picking up a lot of handling noise and squeal on occasion. One of the white ones was the one to blame for my 'discovering' the joys of a Precision. I had a Wizard Thumper pickup on it and played a few gigs with it. Probably the instrument with the best money earned vs money spent ratio . I sold it in April 2015 [*] I swapped the necks on the other two, and used the white/maple one to turn it into a fretless, which I still own and use. The other was stripped and it was going to be a fun project with a couple of MM pickups... but got bored with it before I finished it and sold it in 2015 as a collection of parts. [*] I have a file with this kind of info. Don't judge me, please 😝

That's beautiful! 😍 I have a Squier Jazz body that I sprayed Fiesta Red back in 2018... and I haven't finished it yet This is giving me some motivation, as it was a great sounding bass too! I need to sand a few irregular bits and spray a few more coats still, 'though, so it'll have to wait until the weather gets warmer and less humid again as I don't have a good place to do the spraying bit. What I did, I did in a small garden shed... which looked like I had butchered someone after I was done

Yes, they had a line of basses and guitars. I think there was some connection between the bass line and the bass player in The Shadows (forget his name now), I don't know. A few years back SR seemed to want to unload fast the instruments and the basses were for sale for £60. They were fine, nothing amazing, but fine. The weakest point was the pickup, sounded ok but were very microphonic (mine were!). I didn't like Precisions at the time (or so I thought), but at £60 I thought I'd get a couple to mess about with. I only kept this one in the end. I had a hard time deciding between it and the Fender I had bought from @AndyTravis but in the end the SR just felt nicer to me. The Fender was beautiful 'though. I don't have any pictures right now, but it looked like this:

What I do, and that's just what works for me, is I take a little recorder with me to rehearsal. An ancient Zoom H2, but even a mobile phone does a good job these days. So I record those songs including intros, ending etc... then I can just take it home and learn that. I don't need the rest of the band to do my homework. Maybe something like that can help? I'm playing on Saturday as a dep with a band. I had around 30 songs to learn. I took the versions I was asked, wrote my charts, then I had one practice with the band, so I got all the starts and endings and variations and I learnt those. Did one more practice, it was giggable already. And I am not exactly amazing... but recording those bits and taking them home is very efficient, for me.

Just wondering how many still have/use theirs. I defretted one of them, put a DiMarzio Model P and D'Addario tapewound strings... and this thing has seen other 'proper' fretless basses come and go, while the Sue Ryder stayed. Don't get me wrong, it won't compare to high end basses by any means, I'm sure, but it's compared very favourably to a couple of Squiers and a MIJ Fender (beautiful natural/maple unlined fingerboard). Those Model P with tapewounds are an amazing combination: roll tone off, and it's so round and thick, but not boomy... open tone, and you get a lot of the attack coming through. I'm not really a fretless player much, but I'll be playing it on Saturday so I have been 'befriending' the fretless again lately... and it's such a great sounding bass, and pretty light too, very comfy. Anybody still have theirs?

I'm not sure EBMM has much say in that respect, and unfortunately SBMM keep playing the "I see nothing wrong" game, as far as I can see: example, the black tuners that chew themselves out within a few uses "we'll send you another set". Yes, another identical set made of plasticine.

I disagree. That just prolongs the agony, and in many cases will delay the change. Once you've established a certain member doesn't work, it's time. It's also pretty dodgy in my books: I like to be transparent about this kind of thing. If it's just 'work', sure, do whatever it takes to get the income. But if there's a substantial element of 'fun' in the whole arrangement, I don't see how that can work. It really would not work for me. But that's just, like, my opinion, man. One of the things I learnt over the years that has served me very well (I think) is to not be afraid to quit a band or to define my boundaries/expectations. I wasted far too much time at first with dysfunctional bands because I didn't want to stop, even temporarily, and look again for new people. But if you don't move on...

I know that getting rid off him seems like a drag... but frankly, do you want to carry on that way? These people don't change their attitudes. The sooner you start the search for a new vocalist the better. I'd certainly wouldn't stay in those conditions. He seems to think his time is more valuable than yours (not showing up to rehearsals because HE already knows the songs). What do you think will happen if you don't replace the vocalist?

Well, got a B6 on the way. Has anybody tried the Guitar Lab with it? It looks like a very useful bit of software to manage presets.

Emubands will also do it. I've used both Emubands and Distrokid. Both were straight forward.

Unfortunately I've seen many scruffy cut nuts like that. It's a relatively soft plastic. Hate it, but they usually work fine. The pickguard however, I'm pretty sure there's still a protective film on that one and the pickguard itself is fine underneath.

please, define 'usable amplifier for bass'

I don't like you much, right now... . . . "No, I don't need a 4-string Jazz" (repeat mantra until I fall asleep, keep credit card away, unplug comput

I think Jazz style basses tend to be heavier purely because their bodies are pretty big. Between my girlfriend and I we own 4 HB basses. With regards to weight, the Precision is average -not heavy-, the 5-string Stingray style is quite light, the 5-string JJ55OP is average and the 5-string JP55OP is pretty light (I think it was 8.6 lbs, mayeb less, I can't recall).

I think the ones that get easily impressed by slap etc tend to not be the ones whose advice I could use... so don't feel bad for not slapping. I find that people [1] tend to learn what they need, and if you had needed it, you would have learnt. [1] by people I mean the kind of people most of us are here, working day jobs and playing music largely for fun. Pro Musicians probably learn everything, I would. I learnt to slap when I ended up in a RHCP tribute band. I had taught myself to do some basic slap, but nothing too fast or complicated. I got praise often while playing RHCP stuff... but the thing is that once you get to it you realise Flea's slap is pretty simple, just fast. So it was a matter of putting the hours, and not as many as I thought at first. There's far tastier slap elsewhere, but people say you're good because you played "Blackeyed Blonde"... :shrug: I've recently had to learn a bunch of Bruce Springsteen songs, and have 'discovered' how many amazing basslines there are hidden there. The bass player, Garry Tallent, had never registered with me... but man, that guy has such a tasty style, very melodic... and I enjoy that far more than any slap-fest. Although it's good to be able to do a bit of everything. Exhibit A: "Thunder Road" by Bruce Springsteen, with one of my favourite basslines of his (Garry Tallent's)

It tends to go down better if you nod, smile and say "that's impressive". Just like when a mate shows you his new car all proud and you don't particularly care... "oh, nice colour!" or something is better than an essay on why you don't rate that car... Humans are funny.

Glad you found it useful. I like the colours to see patterns, but it can get too colourful to the point it is just a mess. I tried colours that I could mentally isolate easily, but didn't really spend much time with that and given the wide range of perception of colours (in particular reds and greens in males), others might prefer other colours. They're easy to modify on the PDF version, or use them to highlight particular scales... I find the 5 string more intuitive, and easier to find the notes I want. The fact that you have 2 octaves across the fretboard in the space of 5 frets is so... liberating! I look at the fretboard a lot less with 5 string basses.

+1 I've played that amp a few times and I always liked what I heard. From the 'not very expensive' amps, it's one of my favourite sounding ones.

Like almost everything in life?

I just made this and thought I'd post it in case anybody finds it useful. PDF: https://www.dropbox.com/s/p9r89rf3241agcl/221030 - 5 string bass fretboard.pdf?dl=1 PNG: edit: ... and while I'm at it, some blank tab: https://www.dropbox.com/s/me10i5xdnbns7ej/5-string-bass-tab-paper (pale grey).pdf?dl=1 https://www.dropbox.com/s/48q1e4ralbfpa7g/5-string-bass-tab-paper (grey).pdf?dl=1

One of the first basslines that caught my ear back when dinosaurs roamed the Earth. Yes, it's very simple and it follows what I call "The Cheesy Chord Progression", but it's just perfect.

Love it!

That Burgundy Mist one, and the Shell Pink as well, are looking at me with 'come to bed' eyes... And I don't even like Jazz necks. I'll walk away fast before my wallet opens...

Now I see what teh whole thing about 6 lying on the bed and one said Adidas was about!!! Crazy!