6stringbassist

[quote name='guybrush threepwood' post='844847' date='May 22 2010, 08:47 AM']I'd definitely recommend the 62 reissue; it's a fantastic bass, and when you consider the price, it certainly has a massive wow factor. I may cause controversy, but IMHO it's far better than any American jazz I've played, and the build quality is spot on - I've never seen such a tight neck pocket![/quote] That's what I've got, a '62 reissue. It's name is Jaco (surpisingly ). It is of far better construction than my US made 5 string jazz. Best of all I only paid £350 for it, which is a real bargain.

[quote name='bubinga5' post='843264' date='May 20 2010, 04:26 PM']where is the best place to buy MIJ fenders from now?[/quote] [url="http://www.fareastguitars.co.uk/usedjb4.htm"]http://www.fareastguitars.co.uk/usedjb4.htm[/url] But don't bother with the '75 Ash one 'cos that's now mine . The Japanese basses seem to be far better quality than the US made ones.

You'll probably find that you can''t actually see the lines on the neck, unless you stand with your neck at a funny angle while playing . Side markers are far better.

I have to go out to a gig now. So I'll just let you all carry on. Please see my other genuine feedback on here, on Talkbass and on Ebay (modulusquantum6).

[quote name='robocorpse' post='720443' date='Jan 21 2010, 07:38 PM']"Kevin" said in the original FS post that JD was replacing the scratchplate. Bearing in mind the plate on the Stingray 5 holds all the electrics (and they have to be removed to change it), thats about as close to the wiring as you can get, so it MUST have been noticed, or done afterwards. And if so, why? Heres a quote from Kevins original FS post...[/quote] I'm sure that John would have noticed it. That's why I didn't offer to pay towards the repairs. That and the fact that it took a month to contact me.

[quote name='robocorpse' post='720413' date='Jan 21 2010, 07:12 PM']"Lowfer" advertised it here on October 25, and presumably sold it to "6stringbassist". "6stringbassist" (Kevin) advertised it on Nov 19th, mentioning the plate was being changed by JD, then posted the bass was "SOLD" on 28 November, so he had it at least 2 weeks. The way I see it is unless Kevin did the dodgy wiring himself, then the fault may partially lie with Lowfer (JD wouldn't have done that). The fault could easily "develop" if the wiring is sellotaped instead of soldered. The old advert for the bass mentions John Diggins changing the plate while in Kevins ownership, so I am surprised this wasnt brought up in conversation with Kevin and JD, so I think Kevin knew all along, and just let it go as is. Somethings wrong here, JD wouldn't have let a bass out like that without telling the owner, and/or offering to mend the wiring. Rewiring a Stingray aint exactly rocket science...[/quote] I wasn't going to reply to this. I'm of the opinion that what happened was between me and Scott. Seeing this has made me change my mind however. I 'owned' the bass for two weeks. It spent those two weeks at John Diggins workshop, he will confirm this. It was taken to him the day after I bought it, I got it back from him the evening before I sold it. It was actually in my possession for about 24 hours. I didn't get home from collecting it until about 11 o'clock, and I had a gig on the evening that I collected it from John Diggins. If I was aware of the fault I would have had John fix it. It was taken to him to have a new scratchplate fitted and to have the fretboard cleaned and re-finished. He had the scratchplate off and didn't see anything ! If I was aware of the fault would I have asked that people came around to try it. I'm sure I remember stating in the advert that personal collection was preffered ! It took Scott a month to contact me to say it was faulty, he was busy. Surely he could have spent a few minutes to email or phone me. He tried the bass in my home using his own amplifier. I was in London at the time but my Dad states that Scott was 'over the moon' with the bass. Surely is the bass sounds as horrible as is being said, then he'd have noticed it. I mean you don't have to know how something works to know that it's faulty. He had my mobile number so he could have contacted me when I was in London. I bought the bass on a whim. The day after I'd bought it I noticed a Zon Sonus 6 sstring bass for sale on here. I've wanted a Zon for years. If I'd seen the Zon first then I wouldn't have bought the Stingray. I decided to sell the Stingray to pay for the Zon. I have never and will never sell anything that I know to be faulty.

Ha, this is my old gig. Nigel replied to my wanted advert for a replacement bass player last week. I met him last night, and he seems like a really nice guy and I hope he enjoys himself. And good luck with learning all of the songs, there are some really nice bass lines in the Free stuff. I never actually got around to learning most of it, I just used to make it up .

[url="http://www.thebassgallery.com/workshop.cfm"]http://www.thebassgallery.com/workshop.cfm[/url]

Highly experienced Birmingham based rhythm section available. Very experienced bass guitarist and drummer available for dep gigs, session work, theatre work etc. We have been playing together for several years. We have done dozens of gigs,recording studio dates and theatre pit work at the Birmingham Rep theatre. We can cover any style of music, and we are available and have the ability to do short notice 'dep' gigs. We can both sight read or just turn up and play. We have recieved only praise for our professional attitude and abilities. We both have excellent kit and our own transport. Paid work only

I'm a 36 year old bass guitarist available for session work, dep gigs, cover/tribute band and theatre work. I'm based in Birmingham, but I'm willing to travel as far as necessary. Over the last 20 years I have played a massive range of music at pubs, clubs, functions, festivals and theatres all over the UK and Europe. I am extremely reliable. I can sight read, follow chord charts or just busk. I have the ability to learn sets with the minimum of notice. I have great gear and my own transport. Paid work only.

Midlands based Paul Rodgers tribute band require a new bass player. They play a whole selection of material from Free, Bad Company, Queen and Paul Rodgers solo material. They gig pretty regularly 3 or 4 times per month, and play at some nice venues around the country. Gigs that I've done with them include the Robin 2 in Wolverhampton and The Musician in Leicester. Transport is provided, rehearsals are paid for. They're nice easy going guys, and the music is to quite a high standard. PM me if you're interested and I'll pass your details on. Here's a link to their website. [url="http://www.heartbreakerpaulrodgerstribute.co.uk/index.php/gig-guide.html"]http://www.heartbreakerpaulrodgerstribute..../gig-guide.html[/url]

Michael Manring uses D'addario EXL nickel strings, 095, 075, 055, 035 gauge I think, he de-tunes quite a lot on his songs.

I do occassional gigs with a Paul Rodgers/Free/Queen tribute band, the money's OK and they play some good venues around the country. They're also nice guys and we have a good time. The lead guitarist plays well, has good feel etc and plays some really nice 'bluesy' solos. But he doesn't have any real idea of what he's actually playing. I tell him what the chords are which is kind of ironic 'cos I'm the bass player . It was odd when I first started playing with them last year, I'd never really played or listened to much of the material that they do, so I'd ask what the chords were when we were rehearsing only to be met with blank looks. They're getting a new fulltime bassist from February, to make it easier for him I've written out chord charts for him.

[quote name='Doddy' post='701173' date='Jan 5 2010, 12:02 AM']A mate of mine has got a great knowledge of theory,and regularly tours the world with some of the biggest names in Jazz,has done some major 'Pop' tours, is an in demand clinician,and is also a busy producer and MD. [/quote] [quote name='jakesbass' post='701179' date='Jan 5 2010, 12:13 AM']I have a diary full of colleagues that have toured and recorded with.... Faithless, Robbie Williams, The Sugababes, George Russell, Dave Holland, The Hours, Black Grape, Peter Gabriel, Del Amitri, David Garrett, Ike Willis Bobby Martin, Peter Erskine, Joni Mitchell, Shirley Bassey... actually the list is endless and some of those gigs I've done too. The sole reason the guys in question were in the frame is due to their complete musicianship.[/quote] A friend of mine has an amazing knowledge of theory, (he's also been my main teacher since I was 17), he has toured the world with big names in pop, rock and jazz, he's also head of bass studies at ICMP in Kilburn. I guess what we're saying is that while there are some amazing players who have very successful careers in music, without having a great knowledge of musical theory. Having that knowledge makes you a far more rounded and versatile player.

[quote name='Toddy' post='700271' date='Jan 4 2010, 10:27 AM']I personally couldnt sit in an orchestra pit next week,, but that guy probably couldnt bounce around on stage at Butlins......[/quote] Why couldn't he ? I do theatre work and reading gigs, and I love to just improvise and groove with other players and move about on stage.

[quote name='Rayman' post='700695' date='Jan 4 2010, 05:35 PM']Do you not feel that reading the dots makes you stay within the box rather than think outside of it with your own creativity?[/quote] No not at all. It totally depends on the gig. I can 'busk' along to chord charts or just follow what's being played by other musicians. I can sight read accurately and I do the occasional orchestra pit job. I love just improvising and even do so when I'm able to on a 'reading gig'.