leroybasslines

I guess it's a result of electric bass being pretty much an entirely new invention back then. No one was really sure how to play it! Leo might have had a particular idea at the time, but over the years players have explored and pushed what the instrument can do and it's evolved. Fashion is a big factor too...everyone seems to be putting the bridge and pickup covers they took off in the 80s back on now!

I've got a 2004 Honda CRV. With half the back seat down I can get my double bass, electric bass, PJB suitcase, pedal board, two kids and the wife in quite comfortably. Can't ask for more than that! Heated seats too...

I've got a good ear. Perhaps too good: my reading is there but pretty poor. I've done reading gigs and no one has noticed that I can't keep up with the dots and instead do it by ear and kind of make it up. I've always learnt by imitation and that means I can learn a tune totally by ear very quickly which means I've never really had to rely on reading 100%. I just think it depends on how you learn, but to be able to read a little or enough to get by is an important skill to have up your sleeve and learn more about the bass and music in general. Also, I don't think that Western Classical notation suits a lot of music guys on here might be playing. If you write down some funk/soul lines, they look real complicated; if you learn them by ear they just make sense. Syncopation, ghost notes, etc just don't translate that well onto the page. But if you're playing straighter stuff it makes more sense. Pino Palladino can't really read music, he seems to do ok...

This was a little gig I did for a friend (Stew - the singer). He writes crazy amounts of quirky stuff and needs to let it all out occasionally. We did this gig with no rehearsal: he sent the band a CD of the set and we learnt it, met on the day, soundchecked and then played it. An exciting way to do a gig I can tell you! Aside from the panic and fear, it was a really nice evening - not the kind of thing I usually play but that's kind of why I like it! http://youtu.be/Ntqxw2blqdk

Thanks for that; that was exactly the kind of sage advice I was hoping for. A real help. I guess the problem for us DBers is that the cost of the strings prevents us from just giving them a whirl! I pretty much try a new type of string every time I restring my EB, but £80 a string definitely makes you think twice before taking a punt! I think Gcordez is a fellow Bristolian...maybe I need to get in touch! Thanks again though - really helpful stuff. I shall definitely investigate the Evah Pirazzi, Velvet and Picato options further...

Hello all, I currently play with the ubiquitous Tomastik Spirocores and quite enjoy them. I was inspired to play bass by Reid Anderson from the Bad Plus and I read somewhere that he uses them on tour, so I got a set and put them on. They make a big sound which I enjoy, but I'm beginning to feel like I need to try some new things to find my own sound a little. I just put a complete set on the bass and I noticed that lots of players mix and match different tension strings and even types of string and I feel inspired to experiment! So, I was watching this video... [media]http://youtu.be/x7-4TH7yWrA[/media] ...and I was most intrigued by Chris Wood talking about guts. I've never played a bass with guts before and therefore I'd love to hear your opinions on them. How are they to play compared to steel - lighter/heavier, quieter/louder, brighter/darker? Also, do they require more maintenance or care than steel strings? And finally, recommend me a reasonably priced intro set!

[quote name='Musky' timestamp='1340050278' post='1698378'] I'm thinking the bass may have been refinished at some point. It's difficult to see in the photos, but some areas where the wood is exposed the paint looks quite thin, and without the white under coat black basses usually had. The 'thick skin' finish of Fenders at the time was named for a good reason.[/quote] I think you're right: the finish on the body is one of the reasons I was slightly suspicious of the bass's authenticity as a mid 70s Fender. The wear isn't necessarily incongruous for a 35+year old bass, but I've not seen a Fender wear in that way before. The finish has completely worn away at the usual points and crackled a bit around the edges on the back. The paint is very thin and, as far as I can tell, there's a thin layer of grey undercoat. It does look suitably road worn and hip, but if it were my bass I'd want it refinished and I'd get the pointless but cool looking bridge and pup covers back on there!

[quote name='Musky' timestamp='1340049411' post='1698357'] Changed pots, tuners, bridge and scratchplate. Is that paint in the bridge cover holes? [/quote] It is. It looks like a previous owner has tried to fill and then paint the holes for the bridge cover. Badly. How much impact on value does replaced hardware have?

[quote name='Telebass' timestamp='1340049581' post='1698361'] And I think the idea of selling it to raise cash for the charity makes more sense than using it IN the charity, as you suggested. [/quote] I think so! I think it's a bit like learning to drive in a Triumph Dolomite. Very nice but a bit pointless. A player would live a bass like this but most people would have no idea of its value. At the moment I'm just researching the options and letting them know the facts. If it's worth their while, I think selling it and getting a decent learner bass and a nice amp and other bits and pieces is better than valuable relic!

[post deleted for clarity!]

And here are the mysterious insides... [attachment=110812:Fender P12.jpg] [attachment=110813:Fender P13.jpg] [attachment=110814:Fender P14.jpg] [attachment=110816:Fender P15.jpg] [attachment=110817:Fender P17.jpg] (Sticker on inside of scratch plate) [attachment=110818:Fender P18.jpg] [attachment=110819:Fender P19.jpg] [attachment=110820:Fender P20.jpg]

Right. After much faffing about I've managed to work my camera. Please feel free to peruse these pics of the P and let me know what you think. Exterior shots first...with a tasteful polkadot background of course. [attachment=110801:Fender P01.jpg] [attachment=110802:Fender P02.jpg] [attachment=110803:Fender P04.jpg] [attachment=110804:Fender P05.jpg] [attachment=110805:Fender P06.jpg] [attachment=110806:Fender P08.jpg] [attachment=110807:Fender P09.jpg] [attachment=110808:Fender P10.jpg] [attachment=110809:Fender P11.jpg] [attachment=110810:Fender P23.jpg]

Thanks for all your thoughts so far. Regarding pics, I've just spent an hour or so in front of the footie taking pics, removing neck and scratch plate and putting it all back together again. Some lovely photos...but as there was no memory card in the camera you'll have to wait until tomorrow when I'll try again! Bum.

[quote name='discreet' timestamp='1339873351' post='1695827'] Look at where it's being used. It's going to get nicked pretty soon, isn't it? [/quote] Ha! Actually, a prison is probably the safest place in the world to leave valuable bass guitars lying around...

[quote name='Hutton' timestamp='1339871806' post='1695782'] It's difficult to try to assess the instrument without pics and plenty of them. Sounds like a great project. All the best to you! [/quote] I knew you'd say that. OK...I'll get off my backside and get some pics up ASAP.

[quote name='Doctor J' timestamp='1339871703' post='1695779'] Why sell it now unless you're immediately stuck for cash? It's only going to appreciate in value and, in my opinion, basses are there to be played, even old ones. It might be something worth keeping to help your organisation out in a time of need in the future. [/quote] True, but knowing its value and verifying its authenticity will still be useful if they need cash now or in the future! Believe me, I'm playing the arse of it - they've lent it to me to investigate. If it's [i]really [/i]valuable they're not having it back...

I've recently been doing some volunteering with a charity called Changing Tunes (http://www.changingtunes.org.uk/ if you're interested. You can hear me playing on the Beatles fund raising album in the Music section...if you're still interested!). They help prisoners and ex-prisoners get themselves sorted out by teaching music in prisons and organising bands and events when they get out. It's a great charity that have amazing success at helping people not to re-offend and to have a little hope. Anyway, we've just starting a jam session evening for ex-prisoners in Bristol and I volunteered to organise the bass stuff for the evening (there are usually loads of guitarists and no bass players...but I'm working on them!). I play a Lakland 5 string so one of the CT staff said he'd bring a 4 string bass in case anyone wanted a go and couldn't cope with the new fangled technology. They said it was a pretty crap Fender. Nevertheless, I was intrigued to see the bass (I love mucking about on other people's gear!) and at the session I got it out of the case and had a go. I could tell it was old straight away - it's worn to say the least - but the guys were telling me that it was probably late 80s. It played pretty nice and has a good gritty P tone, although it definitely needs a good set up and some TLC. I checked the serial number on The Guitar Dater Project and it dates the instrument to 1975. Having done some research, I'm guessing the bass could have some value. What I want to know is if any of you guys are experts in gauging the authenticity of vintage Ps and if you could offer any tips for valuing and dating it with more certainty. The serial number is on the neck plate and strikes me as being a very easy thing to forget or recreate to hike the value of a bass! It is well used, I suspect it's had some dodgy paint work done on it and the pups are not original although I'm told the ones it came with are lying around somewhere (!). It has Schaller machines. If the bass does have value (say of a grand and up) I'd seriously advise the charity to flog it, buy a cheaper but very playable equivalent instrument - say a Squire - that would be more appropriate for learners in prison and use the change to get some more stuff that could be much more useful for their work long term. If it's any use, I'm happy to make an effort and upload some pictures. It's just that I'm a bit lazy. So, yeah. Any thoughts would be most welcome! Cheers, Liam

The Fraggles had a pretty good bass player! http://youtu.be/CngM1RISRWA

Interesting thread! I think that there are some lines that define a song and are a big part of what makes a band want to cover the song and why people want to hear it. James Brown tunes would definitely come in that category: I don't understand the point of playing Sex Machine without at least making a nod towards the feel and form of what Bootsy played. However, I'm not really in the note for note camp; I'd rather find the feel, learn some fills and then take them and play it my way. I don't often hear the players of originals themselves playing their studio lines note for note - they'd rather have fun and push the lines live. Having said that, I did a Beatles concert for charity a while back and felt that I HAD to play some of Macca's lines note for note. If I didn't, it just felt wrong - some of those lines are etched on my musical consciousness and when I played around with them I felt dirty! All My Loving was one, Little Help From My Friends was another. However, tunes like Come Together felt more free and I was happier playing the key bits but moving around within what Macca played on the record. That was one of the most amazing musical experiences of my life - we went really nerdy and agonised over every detail of about 38 songs. Bliss! While I'm talking about that, you can buy the album here and give to charidee (second one down): [url="http://www.changingtunes.org.uk/albums.html."]http://www.changingt...uk/albums.html[/url] It's a charity that works with prison inmates to help them sort their lives out by teaching music and hooking them up with other musos to form bands when they get out etc. I don't work for them but often help them out with big concerts like the Beatles one. I thoroughly endorse finding out more about Changing Tunes and perhaps bunging them a few quid!

+1. A legend!

[quote name='Rumple' timestamp='1325270156' post='1481628'] It was £150 so probably not worth it in this instance, maybe just keep an eye on the 'for sale' section here on Basschat for a secondhand Fender or Squier one? the good thing about doing that is if you don't get on with that particular neck you can sell it on at no or very little loss of £'s [/quote] Sorry, just spotted this post! To be fair, £150 isn't a huge amount more than it'd cost to buy one off the peg (e.g. MM) by the time shipping etc is factored in. A luthier commission might be an avenue worth exploring. I can always move the neck onto a fancier body in the future: I'll still have the 'slab' to put back on my Hondo! I had a look at the thread for your build and it looks great - my main instrument is a Lakland and your homage looks fantastic! Who did you get to build the neck? Would you recommend them?