Roland Rock

[quote name='Conan' timestamp='1364316982' post='2024786'] Is it safe to have this discussion? Is Inti/Antelope anywhere withing hearing distance...? Simple is good. But often it seems that we have to go through some kind of "life cycle" as a musician. You start off crap (obviously), but through practise and dedication start to get quite good. Some people stop there and are quite happy. Others aspire to more, so they practise harder and longer. Maybe learn theory. Maybe have lessons. They start to get seriously good, and start to demonstrate their expertise by playing all over the music that they play.... Some people are impressed... Then comes the "economy" stage. You know where the notes are, and how to play them. You may well have a commanding knowledge of technique and are skilled in various styles.... BUT (and that's a big but) you [b][i]choose[/i][/b] not to play them all the time! You are now a tasteful player and are a far more valuable commodity to bands and other musicians. For that reason, never judge a player by what they play. You have no idea what they [i]can[/i] play! [/quote] Nicely put. I would add that it is only after a player has been through this right of passage, that they are then able to play simple lines extremely well. It's more of a feeling than a tangible difference. Subtle dynamics within a bassline, instinctively knowing exactly how long to hold the note for - these things come instinctively with a combination of good technique, experience and talent. You can't put your finger on it, but you know that you're listening to a top-drawer player. So, in that sense, technical ability, in the form of ultra-subtle nuances, is part and parcel in the most beautiful music. But what we're really talking about here is fretboard pyrotechnics, right? I don't care how complicated something is to play, what's important is that I like the music. When someone posts a vid of some 'impressive' playing, I tend to scroll down so that I hear it, but don't see it. That way, I can more easily objectively judge whether the sounds that that person is making are pleasing to my ears

Looks alright to me. I've seen MUCH uglier

I think that when people are learning and concentrating on their fingers, they tend to fret very firmly. This extra muscle use can exacerbate things when you're trying to stretch too. It takes time to get to a point where you can relax those muscles, and fret lightly with minimal fret noise and maximum expressiveness. Once you get to this point, the OFPF should be a lot easier. Personally, I'm not convinced by DM's theory, as it now seems effortless to me. Who knows? Maybe in ten years' time all of us OFPF'ers will be forced into retirement through ill health

Going on past BC sales, they have been valued between £400 and £450

[quote name='Kevin Dean' timestamp='1364193091' post='2022914'] I had a look on the Matamp web site I could see any obvious bass amps with prices , but the guitar amps look very pricy . [/quote] The bass amp is the GT200. Not sure of price, maybe £1600?

Surely having a headstock attached to the neck at the 12th fret must get in the way a bit ;-)

Red Iron 100W A bit of an odd one, I had this made by Red Iron (Texas) in 2005. It originally had a different wooden case, which I decided I didn't like, so I made my own. A mains transformer went pop around 2009, so I took it to John Chambers (Champ Electronics, Nottingham) where he made a replacement one (the silver one in the middle) and some other tweaks while he had it on the bench. It has 2 x 6SL7s (Tung Sol) and 2 x KT88s (JJ) and I love the tone

For me, it has to be 'Beneath the Underdog' by Mingus.

No brainer - Sadowsky, I assume it plays well, and is totally and stringally versatile :-)

@29:11 "We'd like to dedicate this to the ladies" :-D I find that disturbingly sexy

Of the funky headhunter-personnel albums, Thrust is my favourite - the video above is more or less Thrust with Chameleon at the end. Man Child is superb too, with I think my favourite HH song, 'Stepping in It'. Obviously Headhunters is a classic. I don't have Flood, but I think it's a sort of 'best of' compilation of stuff from the above three albums.

Thanks, so probably what I'd know as a 'halving' dovetail joint. Thanks. I can't see the pics of that joint in that link, but it's very interesting nonetheless.

Niche. Ideal for the left hander with a strong back and a warped mind (in a positive proggy way)

[quote name='Conan' timestamp='1363788530' post='2017612'] Totally agree! But that makes it even more frustrating when you struggle to find/create an audience that appreciates it! And yes, before the usual crowd jump up and crow "there are audiences there waiting if you put in the graft..." that is not my experience, at least not in the short term. Building up a fan base as an original band is very hard work, especially when all the band members work full-time. It's not impossible, of course, but it is just another potential hurdle in the way of enjoying playing live with an original band. I'm not complaining, BTW, just stating it as I see it. [/quote] I think we're quite lucky in that we've built up enough so that we can play locally and it's not embarrassingly empty. The big test will be our gig in April in Bromsgrove, where we are the only act. It's a fairly paid gig by an enthusiastic landlord, so I'm really hoping for a good turnout!

[quote name='discreet' timestamp='1363788118' post='2017602'] OK, then... what's the best wood for a bog seat..? [/quote]

I've played in three or four covers bands, and three originals bands, one of which I am still part of. The reason I've been in any band is because I enjoy it. Getting together and making something that is more than the sum of their parts is fun. if you can stand up on a stage and people are entertained by it, even better ;-) Playing in an originals band takes things several steps further. I love the process of working the song from initial idea to polished article, especially when someone comes up with a curveball idea which works instantly and beautifully. In many cases, I've had a huge input into how the song has turned out, and that's when it becomes more than fun, it is exhilarating and exciting to think that you have created something great from scratch. The covers bands have never had issues getting gigs. The originals bands required a bit more effort, but never an issue. Edit, just realised I didn't answer the question. Why was in covers bands? I was asked, was not doing anything else at the time, and liked the songs proposed.

I can't see where the 'dovetail' bit comes into the famous Fodera dovetail/set neck construction. Anyone know the details of how this joint is done? Is the dovetail part hidden?

My 78 is two tonnes of fun

How long does the battery last on the Polytune?

[quote name='discreet' timestamp='1363723583' post='2016645'] According to Black and Molinaro's [i]The Fender Bass[/i], '...Fender added a sunburst finish to the Precision in late 1954, while the bodies were still ash. Fender did not use alder for sunburst until 1956. According to George Fullerton, this decision was motivated by cost and ease of finishing rather than any effect the change had on tone, which Fender did not consider to be a factor...' [/quote] Interesting. And I thought my theory was flawless :-(

[quote name='skankdelvar' timestamp='1363719462' post='2016551'] And a [i]good[/i] one too. No matter what people may say, this question's always good for a few pages. For myself, I believe that different woods [i]must[/i] make a difference, because if they didn't, bass guitars would all be made from the same type of wood. Makes sense. [/quote] Or maybe the most easily obtainable wood. How do you think Leo chose? I see two scenarios... 1: He made twenty odd prototypes in different woods, all known for their tonal properties, then chose alder, based on the subtle nuances that that material provided. 2: He phoned Chad, his brother-in-law's cousin who owned a timber yard. Chad tells him that Alder is plentiful and cheap and he'll do him a deal. Leo tries it, sounds fine, so uses alder for years, till Chad does a better deal on ash.

This beautiful and expressive piece of music from the Detroit Experiment album http://youtube.com/watch?v=NggYXZ7UReE

I bought mine (privately) for £600 in 1997, and sold it (to a shop) for the same in 2001. (Well, part exchanged for my P, but £599 was the trade value)

If it plays well, then leave it be. It's a hilariously crude repair job, but has done the job. Make up a story, like you broke it an hour before a gig in a village festival, and the local blacksmith did the repair on her anvil.

[quote name='thunderbird13' timestamp='1363688966' post='2015750'] I have a real problem in playing in that I can close my eyes now and name every note on the fretboard and yet put me in a band situation and I struggle to name the open strings ( honestly ) .Its not about nerves its more that once I get ino playing that part of my brain slows down and I rely upon shapes and what sounds good [/quote] Which is not necessarily a bad thing ;-) http://youtube.com/watch?v=AZn9ghG9nRw