P-T-P

[quote name='neptunehealer' post='151872' date='Mar 5 2008, 05:17 PM']Cheers, so its a Daryl Jones then, the price of it was a reality check for me, why is that bass £1000 more than on GAK.co.uk. Surely the teal green colour doesn't warrant that extra cost.[/quote] The bass in the clip is a Joe Osborn US made 4 string. I posted the Daryl Jones link because it's the same colour as the one in the clip. As for prices, the US made Laklands are pricey compared to the Korean made Skyline ones on GAK but the US ones are pretty much hand made from start to finish (the necks and bodies of both are cut by machine) plus the woods used are higher spec on the US ones. To get a bass exactly like in the clip you'd need to irder a US Joe Osborn 4 string with stacked pots, rosewood board and finished in teal green. It'll set you back about £2000 or so. To get a bass that's about 90% of the bass in the clip just look out for a second hand Skyline Joe Osborn which will set you back about £500 to £650 and then get it refinished for about £200 and new pots and control plate fitted for about £70 to £100.

That's a US JO4, colour is Teal Green. Bass Central have a US DJ4 in that finish here [url="http://www.basscentral.com/lakeland_usa/skyline_daryl_jones.shtml"]http://www.basscentral.com/lakeland_usa/sk...ryl_jones.shtml[/url]

+1 for the Behringers, they're cracking mics.

Hi David, My guitarist has had pedalboard envy ever since I got one of these back last year. He keeps threatening to retire his home made one which he's gigged for donkey's years as it's only really big enough to fit BOSS type pedals, though he baulked at the price of a new one. I just txt'd him Has it got the three 18v leads too?

I was looking for some old files on the computer earlier and came across these which I drew up for myself many moons ago when I got back into playing seriously again. Might be of use to some of you. Four stringers, just use the bottom four strings in the diagram. These modes are scales which are built using each note in a particular key signature. Each mode uses a different step of the key as it's tonic or root and as they only use the notes which appear in the key signature, they can be called diatonic scales. The diagrams deliberately don't include fret numbers or note names as they can be applied to any key, just work out what the tonic note should be, find it on your fretboard and away you go. I'll refer to the key of C throughout when talking about them so as to give a clearer picture. I'm proposing the use of the one finger per fret method with these modes, but don't worry if you find that too much of a stretch or just too uncomfortable. It's where the notes occur that's most important, not so much the technique you use to get to them. If you need to shift position to play them, go right ahead. I've got small hands myself and, especially when on a long gig, I often switch to using my ring and little finger as a duo, or sometimes one or other of them. Comfort is the watchword! [b]Ionian Mode[/b] This is the mode formed from the first step or root of the major key. So if we're playing in the key of C, on a 5 string bass we're going to be starting at the 13th fret (8th fret for 4 stringers) as we need the note C to be the tonic or root (R in the diagram) of the mode. [attachment=5992:ionian.gif] With middle finger fretting the R note, we can play the whole scale using the one finger per fret method. Those of you who've had your Cheerios this morning will notice that the Ionian mode has the same structure as a major scale. [b]Dorian Mode[/b] This is the mode formed from the second step of the major key. So if we're playing in the key of C, on a 5 string bass, we're going to be starting at the 3rd fret (10th fret for 4 stringers) as we need the note D to be the tonic or root (R in the diagram) of the mode. [attachment=5993:dorian.gif] With our index finger on the R note, we can play each note in the mode using the one finger per fret method... kind of. We need to shift position as we get to the 4-5-6 first time up. The way I do it is to fret the b3 with my little finger, the 4 with my index finger and the 5 with my little finger again, this means my index finger is free to comfortably fret the 6 and I can then revert to the one finger per fret. Note that the Dorian is a minor mode that differs from the natural minor scale (e.g. the white notes on a piano from A to A) as it has a major 6th interval rather than a minor 6th. To put that in context, the natural A minor scale would be A B C D E F G A while the A Dorian mode would be A B C D E [b]F#[/b] G A. [b]Phrygian Mode[/b] This is the mode formed from the third step of the major key. So if we're playing in the key of C, on a 5 string bass, we're going to be starting at the 5th fret (12th fret for 4 stringers) as we need the note E to be the tonic or root (R in the diagram) of the mode. [attachment=5994:phrygian.gif] With our index finger on the R note, we can play each note in the mode using the one finger per fret method... kind of (again). If you're on a four string, skip the next paragraph as you can do it all in one position, five stringers, read on. We need to shift position as we get to the b3-4-5 second time up. The way I do it is to fret the b2 with my little finger, the b3 with my index finger and the 4 with my little finger again, this means my index finger is free to comfortably fret the 5 and I can then revert to the one finger per fret. Note that the Phrygian is a minor mode that differs from the natural minor scale (e.g. the white notes on a piano from A to A) as it has a minor 2nd interval rather than a major 2nd. To put that in context, the natural A minor scale would be A B C D E F G A while the A Phrygian mode would be A [b]bB[/b] C D E F G A. [b]Lydian Mode[/b] This is the mode formed from the fourth step of the major key. So if we're playing in the key of C, on a 5 string bass, we're going to be starting at the 6th fret (13th fret for 4 stringers) as we need the note F to be the tonic or root (R in the diagram) of the mode. [attachment=5995:lydian.gif] With our middle finger on the R note, we can play each note in the mode using the one finger per fret method... kind of (yet again). If you're on a four string, skip the next paragraph as you can do it all in one position, five stringers, read on. We need to shift position as we get to the 2-3-#4 second time up. The way I do it is to fret the R with my little finger, the 2 with my index finger and the 3 with my little finger again, this means my index finger is free to comfortably fret the #4 and I can then revert to the one finger per fret. Note that the Lydian is a major mode that differs from the major scale (e.g. the white notes on a piano from C to C) as it has an augmented 4th interval rather than a perfect 4th. To put that in context, the C major scale would be C D E F G A B C while the C Lydian mode would be C D E [b]F#[/b] G A B C. [b]Mixolydian Mode[/b] This is the mode formed from the fifth step of the major key. So if we're playing in the key of C, on a 5 string bass, we're going to be starting at the 8th fret (3rd fret for 4 stringers) as we need the note G to be the tonic or root (R in the diagram) of the mode. [attachment=5996:mixolydian.gif] With our middle finger on the R note, we can play each note in the mode using the one finger per fret method. Note that the Mixolydian is a major scale that differs from the Major scale (e.g. the white notes on a piano from C to C) as it has a minor 7th interval rather than a major 7th. To put that in context, the C major scale would be C D E F G A B C while the C Mixolydian mode would be C D E F G A [b]bB[/b] C. [b]Aeolian Mode[/b] This is the mode formed from the sixth step of the major key. So if we're playing in the key of C, on a 5 string bass, we're going to be starting at the 10th fret (5th fret for 4 stringers) as we need the note A to be the tonic or root (R in the diagram) of the mode. [attachment=5997:aeolian.gif] With our index finger on the R note, we can play each note in the mode using the one finger per fret method... kind of (yeah I know). We need to shift position as we get to the b7-R-2 first time up. The way I do it is to fret the b6 with my little finger, the b7 with my index finger and the R with my little finger again, this means my index finger is free to comfortably fret the 2 and I can then revert to the one finger per fret. If you're still with me, you've probably had some lunch by now and will hopefully have spotted that the Aeolian mode has the same structure as the natural minor scale. [b]Locrian Mode[/b] This is the mode formed from the seventh step of the major key. So if we're playing in the key of C, on a 5 string bass, we're going to be starting at the 12th fret (7th fret for 4 stringers) as we need the note B to be the tonic or root (R in the diagram) of the mode. [attachment=5998:locrian.gif] With our index finger on the R note, we can play each note in the mode using the one finger per fret method. Unlike the other modes, the Locrian is neither major or minor, it is in fact a diminished mode as it is graced with a diminished 5th. Note that the Phrygian differs from the natural minor scale (e.g. the white notes on a piano from A to A) as it has a minor 2nd interval rather than a major 2nd as well as a diminished 5th instead of a perfect 5th. To put that in context, the natural A minor scale would be A B C D E F G A while the A Locrian mode would be A [b]bB[/b] C[b] bD [/b]E F G A. I hope some of you find a use for this info, feel free to pass it on (though for personal use only, don't use this as the second chapter of your book without my permission!) Once you've got the modes down (both ascending and descending) try applying them to different key signatures and then from there try playing them in thirds, fourths fifths etc. i.e. for thirds you'd play R-3-2-4-3-5-4-6-5-7-6-R etc. as it's great exercise for both hands.

[quote name='Soulfinger' post='144911' date='Feb 22 2008, 11:32 AM']If it were a 75, it would have a bullet truss rod and block inlays. To me, it looks like a legit bottom-of-the-line Jap Standard Jazz exactly like the one on top of the list [url="http://www.guitaremporium.co.uk/index.php?f=data_fender_japan_new_guitars&a=4"]here.[/url][/quote] Yeah, looking at that pic, could well be a genuine, basic Jap Jazz.

[quote name='Pedro1020' post='144485' date='Feb 21 2008, 04:26 PM']The Silver serial number on the back of the neck looks like a quick job, the decal seems prominant so it hasn't been properly lacquered over....that well The screw in the middle is an odd thing :wacko:[/quote] Agreed on the serial number, looks like an afterthought. The screw in the middle isn't that unusual, there are Fender basses with those, though I'n not sure what era exactly, though the Geddy re-issue has one IIRC.

I think the downer on Fender MIA basses stems primarily from the price tag and then secondly from the fact that most which you try in shops tend to be really badly set up. The MIJ/CIJ Fenders always come with a far more attractive price bracket and are generally quite well set-up when they come from Japan but also are more often played in a pre-owned state rather than in a shop. Basically when people try MIAs they often play badly set up and highly priced models but when they get their hands on a MIJ/CIJ, the price tag is appealing and the bass has probably had a decent set-up by whoever owns it. However, I think once an MIA has been well set-up it's gonna be a much better instrument than it's Japanese equivalent. The Japanese one is still arguably going to be better value for money though and that's always going to be a consideration for most people.

Looks a bit awry to me. At a quick glance and working from memory... Has a white 60's re-issue type pickguard - holes for a pick-up cover and grab rest type thing - and a 60's type neck with truss adjust at the heel but doesn't have 60's RI type bridge with the threaded sadles and the neck has a skunk stripe down it. Also I think the Jap RI basses have mint green guards, not white. The pegs on the tuners look to have too small a diameter. You can clearly see the joins for the pieces of the body through the finish which doesn't strike me as the kind of thing that a Jap Fender would have. The Jap Fenders I've had which were CIJ have a serial number in a silver grey at the bass of the neck but also the words "Crafted in Japan" in black and the words "serial number" in black also IIRC. An 04/05 serial number would be an R plus 5 digits according to Fender, this is R plus 6 digits.

[quote name='acidbass' post='141064' date='Feb 15 2008, 02:14 PM']It's possible that they're an OEM string brand that Lakland put on their shipped basses, so there's a chance you may not be able to buy them commercially. Sorry I can't be of any more help! [/quote] Thanks, definitely not Lakland strings though as their's have grey silk on them and the B and E strings are tapered at the bridge. [quote name='Thunderthumbs' post='141073' date='Feb 15 2008, 02:29 PM']My Elites Stadiums on my jazz are the same colours.....and as far as the nut end's concerned, it's through a Badass bridge not a thru-body, but there's still a good 1.75-2 inches past the nut before the silk. So it could be them.[/quote] Was thinking they might be Elites, haven't used them for years, had black silk on them in those days as I recall.

So I bought a Lakland 55-02 recently and the strings that were on it felt very nice to me but hadn't been fitted very well (cut a bit too short). Anyway, I've put a set of my usual strings (DR Extras .045s) on there and I'm not liking the bass quite as much as I did with the "original" strings on there. The ones that came off were roundwounds, I'm guessing steel but possibly nickel as they certainly weren't as harsh on the fingers as a set of Swing Bass 66 for example. The silks on them were red at the ball end and a kinda bluey-purple at the peg end. The bass was strung through the body and even with this and the 35" scale, the silks cleared the nut quite comfortably - which is not always the case with some strings. Any idea what brand they might be?

Well, you could just flip it on it's head and say that the bass is playing/outlining/implying a chord sequence of Em -> D -> C -> D and the guitar is playing a melody, in key, over the top of it. It's a similar effect as is on the intro to Where the Streets Have No Name, the guitar repeats a simple riff over an keys/bass pedals chord sequence of D - G - D - G - Bm - A - D Might not be quite as exciting in musical theory terms as you'd perhaps hoped, but console yourself with the fact that your new creation sounds ace.

Bought my Shure Auxpander thingie. He collected it from me and though only a brief meeting, seemed a thoroughly decent bloke.

So I love my DJ5 and a while back I bought another DJ5 but the feel of the neck on that one was just not the same but I couldn't quite put my finger on what it was. Both before and since getting my DJ5 I've owned several other Lakland Skyline series basses and on Saturday I took the plunge again and bought a 55-02 from a fellow Basschatter. Where I'd previously put the different feel of the 55-01/2 and JO5 necks down to the slightly different dimensions to the DJ5 neck (fingerboard radius in particular), this new 55-02 feels almost identiacal to my DJ5 and I'm loving it. What I've realised now is that my DJ5 and this new 55-02 seem to have a lacquered neck finish, not as heavy a lacuer as on the classic Fenders, but a definite layer of something that ain't wood! Thinking back, the second DJ5 I bought and then sold, didn't have this and I'm sure none of the other Laklands did (with the exception of a 55-01 fretless I had for a while). When I was at the SE Bass Bass selling said DJ5, there were a number of other Laklands there, some of which I tried, and there was at least one DJ4 that had a similarly lacquered neck. The un-lacquered necks no doubt do have some kind of finish on them, but i@m guessing it's more of a MMan oiled type affair and they feel wood-like to the touch. Am I just losing it completely or can anyone shed some light on this? What does the neck finish on your Lakland feel like - slightly glossy and finished or more natural and woody? I wonder if there's a point in time where they made a conscious change. Wonder also how the necks on their US instruments are finished.