Davebassics

I've been living in Manhattan fir the past 3 months and I can fully understand how the way scott endlessly sells himself and his product goes down better over here. The level of advertising and marketing over here is on another level to what us simple folk are used to.The american market is a lot more accustomed to being hit in the face with high frequency advertisements and product placements. To be honest, scotts self promotion is very modest compared to some of the stuff you see over here. He is obviously a very smart businessman and understands that the american market is a lot bigger than the UK hence his business model and production values are geared towards americans. I would imagine that american production values are more transferable internationally than the more modest british approach.

[quote name='mentalextra' timestamp='1507322188' post='3384828'] I don't have an axe to grind as far as Scott is concerned but you can see how the *youtube channel promotion machine" is influencing his output; like many other youtubers. Obviously there are huge amounts of money to be made and why shouldn't he? [/quote] Fair play to the guy, I couldn't do it. For me, it's the constant barrage of e-mails and americanisms that let the product down for me. I'm one of those miserable sods who gets annoyed by people who are always happy! I've learned so much already from the academy. I wouldn't hesitate to recommend it. As a businessman and a bassist, he is an inspiring individual.

I've only recently started following scott, I've actually signed up to the academy when the offer came through by e-mail. My issue is i'm getting constant spam e-mails from a chap from leeds: "This is totally awesome" "We've got an amazing community" "Take your playing to the next level" "Super excited to have you join our team" etc, etc As an adopted yorkshireman, I'd prefer just a quick note once a week which reads: "ey up lad, this weeks content is reight. have a gander ...." and none of all this american styled propaganda. Completely satisfied with the academy so far though. I'm just going to have to set an auto junk rule on his e-mails.

Yep, I sold for the exact same reason. Then bought the black one and it was much lighter . Then I sold that and bought something else .....

Does anyone know if the neck pockets are consistent between Squier VM and CV models? I want to put a jazz neck on my CV P bass. Just looking at options. It pains me because I haven't wanted to mod the P bass got the 5 years I own it because it plays so well. I'm worried it will never be the same again! But I'm finally accepting that the neck shape isn't working for me. I'm a jazz neck guy, always have been.

[quote name='Steve Woodcock' timestamp='1505783361' post='3374303'] Hi Dave, I am down in London but can offer you Skype lessons if you'd consider that an option? Feel free to message me if you'd like to discuss. Best, Steve [/quote] Thanks Steve. I'm hoping to find a face to face tutor for now. I'll keep you in mind for skype sessions if I decide to go that route in the future. Thanks!

Hoping to find a tutor to help me transition from a hobbyist bass player into a amateur musician. I live in Mirfield and work in Hebden bridge. My work schedule can be manic so I am hoping to find a tutor who is easy to get to between them two locations. I have had a few recommendations so far but nothing that will work for me I am afraid. Is there anyone hiding out on here who could help? Thanks Dave

I am almost satisfied that there isn't anything wrong with the amp, it is probably operating within normal noise specs. I like the idea of installing a switch but I wouldn't want to affect the resale value of the amp. I'm definitely happy with the amp bar the fan noise. I'll have a look and see if I can make a reversible modification to it.

Not the most scientifically correct experiment in the world but ... Using the Keuwlsoft s-01 Android App, took a 20 second measurement from around 1 meter behind the fan. It averaged at 58.80dBA (Decibels A-weighted). According to: [url="https://www.endpcnoise.com/cgi-bin/e/decibels.html"]https://www.endpcnoise.com/cgi-bin/e/decibels.html[/url] 60dBA is a noisy lawn mover at 10m.

Thermal switch isn't a bad idea. I don't feel any hot air from that fan even after a couple of hours practicing. Does anyone have a schematic for LMIII? Wondering if the fan speed is variable depending on heat? If so it could be that the fan is just constantly running at full speed. There is always the chance I am just being hyper sensitive to fan noise but I'd like to get a noise reading to compare. I will take a noise reading of mine tonight and see what I get.

There are posts on forums to do with this already but I am yet to find the answer I am looking for. I practice quietly with little atmospheric noise. The Fan noise from my LMIII is loud enough to be annoying to me. I am a sound engineer so maybe I am a little more tuned to notice these sorts of things that normal. I have so far replaced the fan three times with three different models. The last one I tried was an identical fan to the original for real electronics (Mark bass's service representatives in the UK). None of these solved the problem. So I am now just beginning to believe that it is normal to have this noticeable fan noise. I bought the amp second hand so have no experience of what it was like when it was new. There are several reports on the internet that Mark bass fan noises are "quiet", "silent" etc. I was wondering if any LMII owners would be willing to measure fan noise from their amps to try and get a bit more of a objective reading on how loud the fan should be. We could do this using a SPL phone app maybe? Not the most fool proof way of getting a noise measurement but it would be better than nothing. Is anyone willing to give this a go? Hopefully I'll be able to work out whether or not I am trying to fix a problem that doesn't exist before I start debugging the supply line to the fan!

[quote name='paul_c2' timestamp='1488577866' post='3250315'] Playing (and reading music on) fretless is no harder than playing on double bass/cello/viola/violin/trombone/french horn etc, but obviously a step harder than fretted bass. So its worthwhile taking a logical approach to it, for example take a leaf out of double bassists study material and read up on what "1st position" and "2nd position" is, then find some music which is graded to only use (eg) 1st position, then slightly more difficult, then the half positions etc. Break it up too, approach "shifting" as a separate skill to learn. If you perceive yourself as slipping in intonation as a piece goes on, how are you determining this? If you're playing along with others then its simply down to listening to both yourself and the others while playing. If its based on seeing your hand move up and up, then don't be afraid to add tape to the neck, or dots, or whatever to help with getting a solid and consistently accurate hand/finger position. [/quote] Yes, fantastic advice thank you. I am determining the intonation slipping simply by looking at the fretboard. Usually when I have to reach an out of position note. I'm usually inbetween frets. I've been useing a double bass book a little to aid with my reading and a bit of theory but there hasn't been a big emphasis on position yet. I'll skip through a little further and get familliar with it.

I keep bass strings on for ages. My Jazz has had Ernie Ball super slinkies on for going on 12 months and my Precision has had regular slinkies on for around 6 months. I probably won't change them within the next 12 months either. Prior to the roundwounds on the Precision, I had flats (Thomastik i think) on for around 4 years. I still have them and I'll be putting them back on a bass when I have a requierment to do so. I'm not an active gigger or active in the studio anymore which is why I can be more relaxed. My strings basically only get changed if I am going to a recording session or I'm filling in for someone at a gig. Not very often!

[quote name='cb1' timestamp='1488478675' post='3249343'] Good advice, but I'm not sure trying to learn to read on fretless is the way forward. It would best to stick to fretted as reading on fretless is difficult even for accomplished players and readers. [/quote] I've no doubt that I could make things easier by practicing on fretted. My attitude has always been that progress on fretless translates to fretted better than the other way around. Maybe I will start splitting the reading practice between the two.

I use the VLE in almost every situation I come across. I have it sat at 10 o'clock permanently and adjust from there. I find it tames the transparency a little bit, bringing the top end out seems to bring little character out of the amp in a way that a LPF/traditional shelf doesn't. Having said that here are the EQ plots ........ [url="https://drive.google.com/file/d/0B7IkdfXXJWFiTlR6MElrWWRLbTA/view?usp=sharing"]https://drive.google.com/file/d/0B7IkdfXXJWFiTlR6MElrWWRLbTA/view?usp=sharing[/url] So as you can see, it is just a shelf. I think by attenuating the highs, the tone is more focused on the lower mids of my jazz bass which I percieve as "character". Regardless of what it does, I love it![code]

[quote name='Stickman' timestamp='1488471071' post='3249252'] Position your music stand off to your left (presuming you are right handed) rather than straight in front of you, that way you minimise the distance your eyes have to jump from the page to your fretting hand. [/quote] Good shout. I don't have a music stand, I just use my desk. Its going to be worth getting one. The hours will come. It's difficult to fit them in sometimes but that's life for you!

After 13 years playing bass, and multiple attempts at learning to read music I have never had the discipline to accomplish it. My latest attempt as been the most successful. I can read/play crotchets at around 60bpm for around 16 bars .... only in 3 or 4 keys so far! So by no means am I anywhere near the level I would like to achieve but I am currently working at my personal best level. I pretty much only play fretless when I practice by my self. My two problems are as follows: [list=1] [*]When practicing reading on my fretless, my intonation can to drift over time. I start to play sharper after a certain about of time, 8-10 bars if I had to guess. [*]When I have to move fretting position to reach low/high notes, I often fall apart because I take my eye off the music and look at my fingers. The time it takes me to refind my position in the music usually leads me to miss a beat or two. [/list] Does anyone have any advice on how I can improve on the above points?

I own a VM fretless jazz and a CV P. The CV is definitely a step up from the VM. I and a few other bassists have all A/B'd the CV with much more expensive American and japanese Fenders. We all agree that the CV is easily comparable if not better than the fenders. Obviously my views are a bit biased. If it wasn't for the fender name, the CV range should be a serious problem for fender. I haven't compared the VM to any fenders but I'm sure the result would be the same or similar.

This morning I had the pleasure of buying Lee's AE112 cab. Pleasure to deal with and made me feel very welcome! Despite Lee's bass playing skills making me feel completely inadequate as a bass player, I would not hesitate to deal with Lee again! Thanks!

I played one last week but I couldn't make my mind up on it. I have a feeling I will live to regret not taking the plunge. Such is life. The problem was, the action was way too high and the neck was visibly bowed inwards. I'm not one for exaggerations but it was almost impossible to play! The guy at the shop kindly offered to set it up for me but unfortunately I was with family and elsewhere to be. I really wish it had of played nicely because there would have been a real chance I'd of walked out with it. A second problem was the tone control for the bridge PU felt flimsy. In comparison to the neck control, it felt loose and maybe sitting incorrectly on the shaft. Although the aesthetics of the VT/VT are great, i didn't naturally take to it as a tone shaping tool. Maybe its just cause I'm used to V/V/T I want to try a roadworn jazz before I look at playing another one of these, see how they compare. Despite my negative impressions of the one I played, I can still see myself falling in love with a good one!