Linus27

As a huge F1 fan for the last 45 years, I think having a cab named Spa is a given. Monaco is my favourite F1 circuit and where my honeymoon was. I proposed to my wife on the grid at the Monza F1 in 2006. I've driven Spa about 6 times and Silverstone a few times so my vote goes to Spa. I think if you look at other classic F1 circuits then Adelaide and Melbourne would make good names but my favourite would be Suzuka. You also can't really ignore Imola and the Senna/Ratzenberger connection. LYSYS Suzuka, LYSYS Imola and LYSYS Adelaide have nice rings about them

The light gauge LaBella Deep Talkin flats (green silks) are my favourite flats, they sound, play and feel amazing.

I saw this the other day and despite being a huge U2 and Adam fan, sadly all the basses are way out of my price range. I'd love the Sherwood Green Jazz or the Lakland Darryl Jones Jazz.

I've done a few gigs using an in house Fender Rumble combo 500 and I've always had compliments the two times I used it including mid gig from the singer who turned to me and commented on how good it sounded. I'm super tempted to pick one up.

When you put it like that, then that does put a different spin on it. I also have a fairly good body of work, I've written music that's been in adverts and used on TV programmes, my music was regularly played on the radio and I've done two John Peel sessions, Radio 1 roadshows and a Virgin session. I've had CD's, vinyl etc. for sale in shops like HMV and I've been on the front cover on a magazine, been in the music press, in books and even have a Wikipedia page. It's even been my full time job. I'm still a musician in my head though 😂

I think my own view is I consider myself a Musician, if asked in what, then I would say a bassist. If I am writing music or basslines then I am being creative, if I am putting together a structure or how the song is to be played then I am arranging and if I am playing in front of people then I am performing but the over-arching title I would use is I am a musician.

Maybe in its simplest for, music, acting, painting, performing, writing, photography etc. is a creative art and thus, one who does this is an artist. One who crafts things, for example builds, designs, repairs, constructs etc. is a craftsman.

Hi Tony, I'm not far from doing the same, 40 years of playing, mostly fretless, will be 56 next year and probably going to call it quits at the end of the year. I'm walking away so the choice is mine but I tired of it all now, I've achieved more than I ever imagined I would but music is a very different kettle of fish these days. I played Glastonbury this year so I'd sooner go out on a high rather than flogging a dead horse and I'm looking forward to writing some new adventures. I also dabble with the piano and find it incredibly rewarding. Good luck with your new chapter and thanks for all that you've contributed over the years.

That's awesome, I'm super pleased one of my posts helped I had the same revelation when I moved to the lightest gauge possible and the Nickel rounds are just so musical. Keep at it, fretless is much a wonderful thing.

For me, on my fretless Jazz basses, I use Rotosound Swing 66 Nickel rounds with the lightest gauge possible. They are the best sounding strings I have ever used on a fretless. On a P-Bass, then I use Labella Deep Talkin flats and again, the lightest gauge possible. I find flats give more of that mwah sound and more pronounced vibrato. The lighter the gauge as well, the more expressive and articulate I find the bass is.

Thank you for sharing this, I've never seen that before. Its interesting that John mentions that he suffered quite a lot with dead spots of fretless basses. This is something I've suffered with a lot as well, especially on Stingray's. I've actually found setting up fretless basses way more temperamental than a fretted bass.

John Giblin is probably my favourite fretless bassist and a huge influence on my playing, closely followed by Pino. Pino I feel has possibly a slightly better fretless voice but John Giblin has more melody which to me is more interesting. I also got to play a few of John's basses including this lovely fretless P-Bass.

Excellent lesson, thanks Greg.

For me its, Fretless Fender 62 Jazz with Ebony board, Bartolini pickups and light gauge Rotosound Swing 66 Nickel rounds (The nickel feature and light gauge is the important part) Ampeg Opto Compressor Mooer A7 Ambient Reverb Harley Benton Custom Chorus (No longer available but the best chorus I have ever used) Optional - Boss OC5 Octaver

Enjoy, they are amazing basses and the colour is so much better in the flesh. Saying that, I'm probably going to sell mine. As I mentioned in my original post, I bought it as a backup to take to Glastonbury but ended up not needing to take a backup bass. So its just sat at home, unplayed as I am predominantly a fretless player. I'm also thinking of having a break from music at the end of the year and possibly retiring after 40 years so I'm going to sell on some basses and this is one that will be going up for sale soon. Its a shame as they are amazing basses but no point having it if I'm never going to play it.

I've had this a lot on fretless basses and I've found fret buzz noise on a fretless is way more common than on a fretted bass for some bizarre reason. So the things I would check are the following. 1. Neck relief. With your left hand, press down the string at fret 1. With your right hand, press down with your thumb around fret 16 and stretch you fingers up to as close to the 7th fret and tap on the string to see how much gap there is to the string and the neck. It should be about a business card. If theres not then you need to adjust the neck relief. If you're not confident doing this then don't and leave it to an expert. 2. Neck grooves or dents. Run your fingers over the entire fretboard and feel for any imperfections, grooves, ruts, mark's etc. If you feel any then get some Martin Cox 0000 steel wool and Howard Feed and Wax Orange Bees Wax and Orange oil and rub the neck to smooth it out, wipe it down with a damp cloth and then coat in the Bees wax. Let it soak for an hour or two and then wipe off. I do this to my necks on a regular basis and they come up super smooth and shiny. This is what Tony Franklin does to his fretless necks. 3. Bridge. Try just raising the buzzing string at the saddle to see if this cures your buzzing. 4. Neck Plate. Loosen the bolts holding the neck a little and make sure the neck is seated in the pocket correctly. Check the E and G strings are evenly spaced to the edge of the neck and then tighten the neck back up. 5. Loose Scress. Check all screws are tight on the scratchplate, string tee, tuners, bridge, strap pins etc. 6. Shake it. Give the bass a gentle shake to see if you can hear anything rattling. I had a bass once that buzzed and it was the truss rod vibrating. 7. Nut. Looses the strings and re-position then in the nut. I'd even go as far as re-stringing the bass just to eliminate that possibility. If still no good, then take it to someone professional to have a look and set up.

I also run my Gnome 280w through my Barefaced Two10 and it sounds so much better through my TC 208 cab. It is much cleaner and punchier. I run my LM IV mostly through my Barefaced Two10 and the vintage colouring is noticeable. I think @Phil Starr worked out that the flat setting on the Gnome was bass at 10, Mids at 2 and Treble at 10 ..... I think.

I've always used rounds on my Jazz basses and my absolute favourite strings for my fretless Jazz basses are Rotosound Swing 66 Nickel rounds light gauge. They just sound incredible. However, I've started to string my fretless Precision basses with LaBella Deep Talkin flats in a light gauge and they sound, play and feel amazing. So I'm going to try a set on one of my fretless Jazz basses to see how they compare. I know most say that you get more mwah with rounds but I have always found I get more mwah with flats on a fretless so I'm interested how they compare on a Jazz.

Yeah I do as well, fretless, chorus, octave, optical compressor and sometimes a little reverb. Absolutely perfect.

I actually run my LM IV with all the dials at 12 and the two filters turned off and it gives me a really nice clean tone. Only occasionally depending on the room will I drop a bit of bass and low mid if I have to.

Oops, double post.

@andyhaines Tested my Gnome tonight and I can confirm that the fan is silent .... sort off. The fan noise is silent, no wooshy noise etc. The only thing you can hear is the sound of a component moving but it's so minimal that you can only hear it if you put your ear right next to the amp. At any other time it is silent and like I say, no fan noise in the traditional sense.

You are very welcome. I am using a 1987 Fender Japan 62RI Jazz Bass with Bartolini pickups and fretless Ebony board. I bought it new and it is the best sounding bass I have owned. It just sings and it beautiful to play. It is very beaten up as it has done thousands of gigs but has so much mojo. Its the one bass that will never leave me As for the Warwick head, I'll check tonight and let you know. Its not something I've noticed and its the one head that has blown me away and I've stuck with. I've even considered replacing the Little Mark IV with the V2 of the 600w head, thats how impressed I've been with it but the Little Mark does do a really good job.