mcgraham

Honestly, I think that the difference in feel due to the variation in length is massively overexaggerated. We're talking a difference of only a few percent in length. Whilst this has a more enhanced effect on tension (due to relationship between scale length and tension needed to get a given pitch at that scale length), it's still only a few extra centimetres. For example, I played Alex Claber's bass (36" scale length) and it was only the added tension that I noticed, which I attributed just to the gauge of strings and higher action. The extra two inches didn't bother me at all. Perhaps I'm just less sensitive to this sort of thing, but I really think the difference in terms of length feel is massively overrated. Mark

Sweet. Sounds like a plan. It won't be for a little while as I'm getting married in 2 weeks (woo!). But I'll be in touch after that. Re: shorter scale instruments. I would love to blend guitar and bass into one instrument, (initial thoughts are fanned fret 32" to 29", strung EADGCFAD - seems a good idea). But I'd need to slowly figure that one out spec wise. Mark

Well, my bro lives in Edinburgh, so next time I'm up (I'm due to visit him at some point) we could have a get together! You could check out the Klimt and I could check out your Shuker. Mutually beneficial all round! I'm happy with 34" or 33" scale. They're so similar I don't notice. What I do like about 33" scale is that it's one inch closer to 32" inch (which I'm tempted to go for on this bad boy) which makes for a shorter more manageable bass... which is one inch away from 31... etc etc. I just wish basses were as compact as guitars sometimes. Mark

It's only an inch shorter! Honestly, I don't feel it makes much of a difference in terms of length, but there is slight drop in string tension (compared to same string gauge on a 34" scale). I don't massively observe this drop, but it is definitely there. Hopefully speaking to Enrico about this tonight so will give add an update once things are more concrete. Mark

For muting whilst doing normal fingerstyle, I straighten my right hand pinky and lower it onto the strings near the bridge to act as a movable mute (like the foam inserts on old P-basses). It does cause some slight extra tension in my hand, but it allows me to play muted lines but with normal fingerstyle. Mark

I take my belt off. In situations where I can't, or I need to look smart, I untuck just one edge of my shirt and place it in front of the belt buckle. I still appear to be smart, but the shirt protects the bass from buckle rash, at least in the short term. Mark

Why would you do that? Mark

Hey all I've been in talks with Enrico @ W&T about a new bass, specifically a fretless to complement my Chronos 'Klimt'. [u]Base specs:[/u] 5 string, neck through 33" scale, strung EADGC Modified Zoid shape body to accommodate... [u]Neck & Fingerboard:[/u] Ash-maple-Ash neck w/... 3 octave unlined ebony fingerboard (ala the Hyperbass) Side dots at every position (we have a scheme to make it clear which position is which) [u]Body:[/u] Bubinga body, chambered/semi-hollow (60mm body depth) Quilted Bubinga top (wings only - pic provided) [attachment=28952:Quilted_Bubinga.JPG] [u]Pickup/Electronics:[/u] Single 'dual coil' pickup (by Christolph Dolf of Bassculture fame) Bridge coil @ 70s jazz bridge position East SP-02 preamp (3 band - trim pots to adjust center frequency of each control in the cavity) [u]Controls:[/u] Volume, Bass, Mid, Treble, Passive tone (push/pull for active/passive) Series/bridge single coil switch For those who haven't seen Wood&tronics basses - [url="http://www.wtbasses.net"]click here![/url] For those who haven't seen my particular W&T bass - [url="http://basschat.co.uk/index.php?showtopic=39407&hl=klimt"]click here![/url] Stay tuned for more details to come! Mark

Love it! Mark

Good point! Although I was more referring to suddenly deciding to change the way you play totally, rather than an ongoing modification. I tend to start mypractice routine with a 30 minute warmup/tuneup session. I have a series of exercises that I work up the metronome on, making sure I'm accurate each time I increase. I've already put the hard work in getting it right (spent hours a day for months working on technique) and now I just maintain it and tighten it up, whilst working on new difficulties. Mark

I just switched back (at least for one gig) to Jim Dunlop Stubby 3mm on guitar. I used to use the Big Stubby, then switched to the red Jazz IIIs (music college guitarists informed me this was the standard pick used at their college, figured I'd take a free bit of advice). Really enjoyed using the Stubby on Sunday, slides so nicely off the strings, can achieve a softer sound, pleasing pick transient. Beautiful. I wish I liked the sound of picks on basses more than I do. Then I could focus on pick technique exclusively rather than splitting my time between fingers and pick practice. Mark

I don't think anyone really likes having to go back to basics. I've done it two or three times for various reasons. Once I did it because I wanted to use the Matt Garrison technique exclusively (starting from scratch), then later again because I discovered the limitations in using four fingers and wanted to get two finger technique up to speed. It's hard, but a few hours a day for a few months can get you to your goal. Good luck and don't give up! Mark

BBC studio work? Nice. Do you get a fair amount of variety in your day then? I totally agree about them being different instruments. I'm happy to admit I'm not a DBer, but I believe that they are physically different enough that they warrant treating as different instruments that are more or less independent from one another. I personally treat the bass more like a classical guitar than an upright. Mark

Ahhhhh... gotcha! Yes, a bit more slanted rather than bent. I know exactly what you mean. Todd Johnson does this as well. Mine is much more like Gary Willis's technique. My apologies for misunderstanding what you meant. I'm truly sorry to hear about your arm pain and playing trouble. I hope you manage to get some respite from this soon. I had a comparatively minor pain in my right wrist about 6 months after I started working, mostly in front a computer. Just due to copious amounts of mouse work, typing, bass playing, exercise, weights, sport, etc. I then switched the mouse to my left hand and did a quite tune up technique wise and all was fine. So you double on both bass and upright? How do you find the difference in technique? Do you find a great deal of crossover? Mark

Thanks MM. [quote]Due to the [i][b]more bent wrist [/b][/i]position that this technique demands, I am now getting "tennis elbow" - quite severe pains at times - but I'm doing some stretching excersizes before playing and that seems to help.[/quote] Woah!! Floating thumb demands a bent wrist?!? Definitely not! If anything it demands a [u][i]straight [/i][/u]wrist. Check out Todd Johnson's video on Youtube. If you've got a bent wrist then are possibly not muting the lowest strings effectively when playing the highest (the dropping of the elbow forces the heel of the hand away from the strings), and you'd also be prone to the pain you've described. Please forgive me if I sound like I'm lecturing, I just can't stand the thought of technique induced pain! Mark

[quote]Each area of the string will feel different under the fingers, so you need to get used to this.[/quote] This is very true. It's amazing how many bassists get tripped up when they try to play somewhere else relative to the bridge that they're not used to. For people who are just starting to focus on their technique, I wouldn't worry too much about moving around (for the purposes of technique at least, but musicality needs to be brought into it eventually) but just pick a region that you agree with the 'feel' of and stick with it. I stuck to plucking at the bridge pickup. Then I evolved to plucking nearer the neck pickup as I found out what sounds I could get and what I liked. I did this whilst simultaneously working on technique, build them in together and don't neglect one over the other, but don't trip yourself up by trying to work out too much too soon. Mark

[quote]Anchoring your thumb doesn't have to be forceful.[/quote] I agree that you can place your thumb against a string ala an anchor and not be using so much force that you grind the string into the pickup. However, the very nature/definition of anchoring means that there has to be some application of force. If this application of force is NOT being used to actually pluck the string, then you are introducing tension (even a small amount). Whilst some may see this as allowable/forgivable, for my own technique I do not. Any force you apply (outside of plucking), however small, will need to be negated (i.e. ceased or opposed) at some point (e.g. moving strings, reaching for strings, moving the plucking point relative to the bridge, etc). This means you'll either need to [u]stop [/u]anchoring (to move to the next string, or just to move your hand), or you'll need to 'fight' (i.e. [u]oppose[/u]) this force you are applying (think about those that always anchor on the E and end up reaching for every string). This, to me, seems like you're fighting yourself. However, if you go for a non-anchoring floating thumb approach, this problem disappears. Yes, it introduces a host of other things you need to work on, but I'd rather those that a constant ongoing battle of my right hand against itself. Mark

[quote]and once you're spending £1600 on a Metro, it doesn't seem to me to be that big of a step to £2400 for an NYC[/quote] Gotta agree. If you are 'comfortably' spending 1600 on a bass, then it seems feasible to stretch for the 2400 one, particularly if it's going to get you something you consider or know to be better. Not saying one should always do that, but there's not too much between the two, the difference is only the cost of an average off the shelf bass. Mark

Anchoring your thumb instantly introduces tension. I'm not saying it doesn't feel good and sturdy (at least to start with), but IME it ultimately slows you down and will impede your progress more than relaxing and using the floating thumb approach. Re: forearm - it is contact with the bass, but it's not resting in the sense that I put the full weight of the forearm on the bass (see Victor Wooten or the like with the 'bird wing' type right arm position) as this cocks the wrist at a bad angle and also introduces tension/pain in the wrist at high speeds. However, I don't have it totally hovering (see Oteil Burbridge) as this introduces tension, discomfort and fatique in the forearm. This is also unnatural (for me) and unnecessary. I keep my forearm and wrist in line with one another and just part of the forearm contacts the bass when playing. Just enough to provide some stability and reduce the suspension of the arm, whilst not introducing more tension than necessary. Any kind of anchoring (which I shall call intentional application of force by your body on the bass) that isn't directly contributing to plucking the strings is wasted energy and adds tension. Better to avoid this. Mark