WishICouldWalk

I think it's pretty tough on the bass because the note on the beat needs to be nice and long so you have to be on it with your fretting hand fingerings and shifting. I try to play softly with the right hand to smooth out the sound. Definitely a WIP for me. Check out Dario Deidda on YouTube. He has bebop down.

On 03/03/2022 at 12:46, GM10 said:

Naive question here. So my understanding is modes and the chords, scales and notes within them are a proven way of understanding music theory. Any of you guys use modes as your bible for playing bass? I do get that there are lots of other aspects to understanding and playing music but as a rule if I focus my theory knowledge on modes am I on the right path.

Sorry mate, I think modes are absolutely the WRONG path. Learn chord tones instead. Learn fingerings for 7 chords from major and minor harmony. Learn the inversions of all these chords all over the neck in all keys. 

You will progress way faster if you focus on chord tones.

Bought this to get over selling my much loved 78 jazz. I bought it because of the looks but it's also a killing instrument as well.

Really nice Japanese Squire P Neck. Serial Number O017076 - not sure how to accurately date this but the reading I've done it's prob mid 90s.

Nice slab rosewood fingerboard.

Truss rod perfect. I've had high-ish tension Fender flats and low tension TI flats and the neck can always be adjusted straight with low action.

There's a bit of fret wear as per pics but it's pretty minimal. If you had a fret dress, you could get the action Hadrien Feraud low.

The frets are a nice gauge - somewhere between super skinny vintage and medium jumbo.

Width at nut is 40.5 mm (I think that's B width).

Width at heel is 63 mm.

Depth at 1st fret is 22mm which to me is quite shallow (my 78 P is way chunkier).

Went into a non-Japanese Squire P body a charm.  I've also had it in a non-Japanese Squire J body which was a much snugger fit (pic added to show how it sits in the pocket).

Imperfections: minor dings on the back of the neck and around the headstock and slightly scratched decal.

I'm selling this as I'm trying to thin things down and if I have this neck lying around I'll end up building another bass that I don't need.

£160 including UK postage.

Any questions or picture requests, ping me a message.

Sold some strings to Jason. This was a model transaction with feedback gratefully received.

Yes, it's available.

On 30/01/2022 at 11:30, Old Horse Murphy said:

My P Bass that was bought with money from my family after my GCSE's. I got it secondhand but it was only a few years old. 
 

Over the years it's had a new neck, new bridge, new pickguard and has been fitted with Sims LED's. I've also badly touched up some paint chips (done years ago before I appreciated Mojo). It's probably not worth anything to anyone other than me but is the only instrument I can 100% say I would never sell. 

You can't beat a Fender with a tort plate!

41 minutes ago, moley6knipe said:

That GB is SICK. I want one!!!

It's a great instrument and I live just round the corner from Bernie's shop so I never have to wait to get anything sorted (not that it often needs it).

I'd never get rid of my GB Spitfire.

I bought this about 4 years ago thinking it would turn me into Stuart Zender but it didn't quite work out that way! I've literally taken it to one rehearsal and messed around with it a few times at home.

£80 Posted

All been on 34" scale.

1 x Thomastik Jazz Rounds (JR345) 5 string set long scale, new. £55 posted.

2 x Thomastik Jazz Flats (JF344) 4 string set long scale, new. £40 posted. **ALL SOLD**

1 x Thomastik Jazz Flats B string long scale, new. £15 posted or add £10 to a 4 set above.**SOLD**

1 x DR Sunbeams 40-120 5 string set. On bass for about a week. Cut for 3+2. £15 posted.

1 x DR Sunbeams 45-125 5 string set. On bass for about a week. Cut for 3+2. £15 posted.

1 x LaBella 750-TB white nylon 50 to 135. On bass for about a week. Cut for 3+2. £20 posted. **SOLD**

1 x D'addario black nylon 50 to 135. On bass for about 2 weeks. Cut for 3+2. £15 posted. **SOLD**

If you have any questions or you want me to measure the length of any of the used strings, drop me a message.

On 01/02/2022 at 20:26, Reggaebass said:

Strange one here, it’s advertised as a 1967 precision with a factory fitted jazz neck ? 

Great looking bass. Interesting it has a P decal on the jazz neck.

I think the consensus is that the movable anchor leads to better muting as placement of the thumb on a string prevents it ringing but there's plenty of great players out there who have a pretty static anchor. It's all about adjusting your technique to address the specific problem you're encountering. If you sound good, you have nothing to worry about.

I think it's important to understand that you're not spectacularly bad, you just haven't done the work. Ear training involves masses of repetition - it took me about 6 months to learn interval recognition. I've been working on triads and 7 chords for a few months and the penny is starting to drop. You'll get there, you just need to persevere.

My advice for working this stuff out is don't try to achieve a particular technique, try to achieve a sound. Listen to how you sound and if you're not liking it, try to work out what the problem is and adjust your technique accordingly.

I chop and change. For a long time I was a devotee of thomastik jazz rounds and jazz flats. They're super flexible and very easy under the fingers. I'm now on DR lo riders for rounds and Labella flats, both of which are much stiffer than thomastik's. For me thomastik's are very expressive and respond to the nuances of what your fingers are doing but I have to set the action higher. The stiffer strings produce a more consistent sound and for me, lower action makes tough lines easier to play.

***

That's a cool looking bass. Almost tempts me away from my Mustang...

I know - there should be special clauses for the used Fender market! 

30 choruses @ 300 bpm

***

The problem with this bass is it's so easy to play you have to accept the bum notes are your own fault 😁

I've got to the point where I can comp with reasonable confidence over standards. For me the challenge now is being able to respond to what the soloists are doing. I have a lot of work to do before I'm truly improvising but Rome wasn't built in a day!

1 hour ago, Biscuit_Bass said:

Thanks for the replies and suggestions everyone.

I took the day off yesterday to rest my hands and picked up my bass again today. I just experimented with what felt comfortable for me. I tried something very simple (with or without you by U2) to get used to shifting my hand up and down the fret board, and then started learning the C major scale.

I tried to keep my wrist straight and relaxed and experimented with different thumb positions to keep things comfortable and also kept things slow.

As many of you have suggested, I'll take a look at the simandi technique and try using my thumb as a pivot more tomorrow. Things are feeling much more comfortable after practice today, so I think that's a good sign. I'm not going to get tied up with 1fpf and instead work on position shifting of my hand to achieve the same result with 1-2-4

I'd say you're on the right track with that. Use one finger per fret at the other end of the neck when you're soloing like Hadrien Feraud 😀