iBudd

I chickened out and returned it for repair! Thomann have made that easy so points for them. If anyone's interested I'll let you know what the repair is like in a few weeks...

[quote name='neepheid' timestamp='1427797728' post='2734278'] I take it it's new, so still under warranty. Judgement call required - if you try and fix it yourself you can (probably) kiss goodbye to assistance from Thomann or Hagstrom (although companies have been known to turn a blind eye with a little "don't do that again" - thanks Gibson for getting me out of jail). Toothpicks/cocktail sticks might work, after that you're looking at drilling the holes out, filling with hardwood (not pine/softwood) dowel and re-drilling new (small-ish) pilot holes. After that, it's same again, but longer/bigger screws. After that, it's probably time to give up [/quote] Yep that's where I am - and thinking about THAT scenario I'm feeling more inclined to send it back and get it done there, even if it means the hassle of shipping it.

Hello chaps I got this Hagström Viking before Xmas, and I do like it, but it's developed a problem - the screws that hold the tailpiece down on the heel (One of which is also the strap button) seem to have worked loose and so the tailpiece is moving away from the body under string pressure - pic attached. Bit annoying. Tightening the screws only seems to have made it worse. So my question is, do you think it'll respond to the old strap button fix of toothpicks and white wood glue, given the fact the the tailpiece obviously takes quite a lot of pressure? I'm quite capable of administering that sort of fix myself. Otherwise it can go back (to Thomann) but that seems like a lot of faffing. And if they get it fixed for me, how are they gonna fix it? Toothpicks and wood glue. In case you're wondering, I had it strung with D'addario ECB81s, which are almost the same tension as the stock strings (I emailed Hagström to double check) - only needed a 1/8 rod turn. So I haven't been abusing it tension-wise. Grateful for any thoughts.

Thanks.

Thanks Dudi - I emailed Hagstrom and they say they ship with 34"! Perhaps both work...

Hi all - apologies if this has come up before, I can't seem to find a definitive answer. If I want to put D'Addario chrome flatwound strings on a Hagstrom Viking bass do I need set ECB81 long scale (up to 36.25") or set ECB81M medium scale (up to 34")? Hope someone might know, thanks!

[quote name='BetaFunk' timestamp='1412011318' post='2564846'] As you say these were made in 2012 but dealers were still selling them in 2013. The suggested UK retail price was about £850. How much they really sold for is anyone's guess. They looked really nice basses though and much cooler than the subsequent Warwick editions IMHO. [/quote] They're still on the Warwick site as part of the current range but it looks like they didn't get much exposure in the UK - I can't even find a review in English. The dude is rocking some nice palm muting in this German vid though. [url="http://www.youtube.com/watch?v=VMQELW5JfMU"]http://www.youtube.com/watch?v=VMQELW5JfMU[/url]

[quote name='TheSiberian' timestamp='1412009834' post='2564830'] I have a vintage 1969 Framus Caravelle BL-16 semi hollow bass in a "time capsule" state, original thin strap, tear drop case and keys included. Absolutely gorgeous bass. It's a pitty Warwick didn't reissue this specific model. Best [/quote] That's a good looking piece of kit. If we wait long enough, everything'll get reissued!

[quote name='yorks5stringer' timestamp='1411944176' post='2564265'] A Warwick Star Bass is still available, double cutaway and 32" scale as a 4 string. Visit the Warwick Lounge for more photos or look to the left of this post....(actually mine's a 5) [/quote] Not quite what I had in mind, but nice. Interesting that they should use the same name for two quite differnet basses.

I've been looking at picking up a short scale semi-hollow for more '60s sounding stuff recently. Just stumbled on the Framus Vintage Star Bass 5/150 2012 reissue but information seems pretty scant on them. I'm guessing they came and went and I missed them. Anybody pick one up? What are they like? Any left anywhere?? They're still on the Warwick website: [url="http://www.warwick.de/en/Framus---Products--Guitars-and-Amps--Instruments--Made-in-China--Vintage-Serie--5-slash-150-Star-Bass--4-string--Pictures.html"]http://www.warwick.d...--Pictures.html[/url]

I thought this deserved an update. I've had two sessions with said student since this exchange, and I think we've boiled down the problems with the Rockschool Rhythmic Recall rhythms into two ideas: Firstly they're just not musical. If I clap or play a more musical two bar rhythm, he has no trouble at all recalling it. Secondly, the examples are really slow. They're quarter and eighth notes played at 80bpm and if you speed them up - even double them - they feel more like an actual phrase and become easier to recall. The trouble is we're stuck with the material as it is, at the tempo it is! All the mnemonic, fruity stuff was bit hit and miss... I think the only solution is probably practice. Thanks everyone for your thoughts.

[quote name='Dad3353' timestamp='1408491608' post='2530792'] Could I then repeat the question..? How do you know it's a second bar..? What happens if you rub out the bar line between, and treat as one (longer...) bar..? I presume (I may be completely wrong here...) that we're talking bars of 4/4..? If so, how do you get on with 2 bars of 2/4..? Just as problematic, or not..? Genuinely curious, and trying to understand... [/quote] I can't speak for Bob of course, but with my student, he'd find a single bar at 60 bpm with a variety of semiquaver rhythms just as hard as two bars at 120 bpm with quaver rhythms. It's the length of the phrase that's the problem - by the time he's listening to the second half it's overwriting the first half in his memory. But I think I'm going to try Bilbo's fruit mnemonic and see how far that gets us, there must be a liguistic way of recalling a longer phrase. I'll post back my findings.

[quote name='Dad3353' timestamp='1408454469' post='2530302'] How does he know if it's one bar or two..? Try just one bar, but make it slightly longer each time (2/4, 3/4, 4/4, 5/4 etc...). If it's the whole phrase he's to 'get', turn it into a sentence (could be nonsense, could be a line from a poem or similar...), so that it can be 'spoken'. One can learn some quite long phrases with that. This is how children 'learn' nursery rhymes ('Here we go gathering nuts in May, nuts in May, nuts in May...'). Hope this helps. [/quote] Thank you Douglas, I think the linguistic approach is a good one.

[quote name='Bilbo' timestamp='1408445563' post='2530146'] I am not a teacher but I hear some use language as a means of focussing the mind of the student. For example: 2 beats is Apple, 3 is Banana, 4 pomegranate and so on. COuld this be varied to meet his needs? [/quote] That's not a bad idea. Perhaps creating some sort of phrase around the rhythm could work. Thanks Bilbo.

Hi all, I hope someone can offer some advice. I'm currently teachng some private classes and I have a student who is working towards Rockschool grades. In almost all regards he's more than ready to tackle debut, 1, and even 2, but he's struggling with the Rhythmic Recall part of Ear Tests. What happens is, he listens well, can identify which 2 bar passage he's just heard, but when it comes to playing it back, before he's seen it written, he gets stuck. The first bar lodges in his memory, but the second one won't go in. He can do a one-bar phrase no problem at all. I wonder if anyone has any techniques for helping students extend their memory in away that would help him recall both bars? I've tried getting him to 'sketch' it as he hears it in sort of shorthand in the hope that that will develop the ability to mentally sketch it out, and my instincts are to keep working with 1 bar and try and ramp it up. But it seems like when we do the jump to 2 bars it falls apart. I'm a bit stumped. Thanks!

And his memorial thread is killing this one. Nobody know the... er, real answer?

Can anyone help me identify the bassist in this 1975 Soul Train clip? I know Leroy Hodges played on the recording, and I did read somewhere that Billy Cox was part of Al Green's touring band in the '70s - but it doesn't look like either of them. Does anybody know? You do only get a few glimpses of him, but I hope you'll be enjoying the clip anyway! [media]http://www.youtube.com/watch?v=YYooJOWH_60[/media]

I love the look of the Flyte basses—the space age dragged into the glam era. Super seventies! EDIT—and based, accoring to Tony Bacon, on the look of Concorde. Which I can sort of see.

That one looks good too, thanks. My interest in Burns basses comes about because I interviewed Dave Richmond for Bass Guitar Mag last year and since then part of my brain seems to be on the lookout for Bisons!

Thanks for the tip, I hadn't heard of the book.

Good eyes everyone! So that's interesting, it seems like it IS an American instrument after all. I guess there's a story there then since it was definitely filmed at Pinewood. There was a good angle on the scroll headstock in the movie. it didn't look fundamentally different from a standard 60s Burns one, but it was out of the corner of my eye... I should try and find or make some other caps... What went wrong with the polyester finish? Did it somehow go manky in transit?

There I was channel-hopping yesterday when I stumbled across super-dated Bond movie [i]Live and Let Die[/i]. Having only watched it several hundred times already I thought "why not?", when suddenly I spotted something I hadn't seen before. At the 'Filet of Soul' restaurant in New Orleans, a band are playing before BJ Arnau comes on and does her thing, and the bassist is playing the coolest white Burns Bison. These were quite popular in sixties Britain but they're a bit out of place in the US... then I realised it's only a movie and I'm sure all the interiors were filmed at Pinewood with locally-sourced props etc. Here's the only cap I could find online (from screenmusings.org). Cool huh?

[quote name='chris_b' timestamp='1392123206' post='2364935'] As far as I recall that Traffic line up was the Muscle Shoals guys. He'd been playing with them for most of the previous 10 years. [/quote] Just David Hood and drummer Roger Hawkins from Muscle Shoals. But they're obviously tight!

[quote name='Ou7shined' timestamp='1392121105' post='2364878'] It's this sort of playing that puts that "plodding bass lines" thread to bed imho. [/quote] Agreed! Although Traffic were always pushing the envolope genre-wise. Lots of jazz and soul in there. Lovely stuff to get your teeth into as a bassist.

Just spent a highly enjoyable hour watching Traffic Live at Santa Monica 72. The whole thing is on YouTube [media]http://www.youtube.com/watch?v=ocjSc7v83pk[/media] David Hood's playing here is just great—he slots so seamlessley into the Traffic lineup (they never really had a permanent bassist), never calls attention to himself, just holds it down. Brilliant. But what on earth is that Jazz he's playing? Shot including headstock at 00:15:00 Right hand closeup at about 00:38:07 - really can't tell if those are concentric pots... neck pickup cover in bridge pickup cover spot! (good idea actually 'cause then you can change strings) but he's not using it as a thumbrest so why keep it? it wouldn't have muting foam underneath... weird single-ply black pickguard (with removied upper thumberst holes) and odd finish. That all sounds a bit geeky but I'm really interested. Anyone got any ideas? Hood apprently had a '61 jazz that got stolen during the Traffic era. If this is it it had some serious cosmetic mods! Anyway he's brilliant, and Traffic are brilliant.