bass_dinger

I had no idea that amp covers were so readily available. Having got the amplifier fa while back for very little money, i see that fully specified cover will cost pretty much the same. However, it feels like a worthwhile investment, to protect the amplifier on its travels.

I find ebay helpful. One can search for completed items, to get a feel for the selling price of a specific item.

Could you share a recording of the solo? Then, basschatters can make suggestions about how they might respond to the task. Better still, they might share recordings of their own attempts, and you can take inspiration from those examples

£500 Boulder Creek acoustic bass, with a cedar top, in the manufacturer's cardboard box. Arrived undamaged, apart from a semi-detached bracing on the back. It rattled like a snare drum, if I hit it in the right place.

My bandmates often tell me something about a break wind - it all makes scents now . . .

I once packed a hifi amplifier in a purpose-built wooden frame, to protect the knobs and speaker terminals. It was so snug, that when it arrived, the facia had a little crack in it. Conversely, someone in my church handed over an Ashdown Acoustic Radiator with no packaging at all - it was placed in the back of a van, naked. The amp was returned after repair, and still has the remains of the transit sticker on the side. Not so much UPS, as Oops. When I next sent the Ashdown Acoustic Radiator for repair it was in a box, face to face with a second Acoustic Radiator with spacers between them and two inches of surrounding packaging. It was only just within the 25kg weight limit . . . My dad ordered a CD player from Ebay. One box, the same size as the CD player, and a layer of corrugated cardboard. The seller seemed surprised that it did not work when it arrived: "that's how I always pack them and they have been fine before."

But how do you attach it to the rotary sander? Carol Kaye allegedly used to bite Paul McCartney's nails too, but there is no evidence for that in EMI archives.

That was quick! 😉 You managed to create a design that is entirely new, yet which looks like the evolution of the guitars on which it was based.

A baritone ukulele would use the first four strings of a guitar - the Loog, the first three. However, the Loog looks and sounds more cool than a ukulele and is perhaps designed as a trainer instrument for guitar. I agree that a guitar has too many strings, and it takes time to work out both what strings to play and which to mute.

That's not a word I have come across. Even Google can't help me.

My hero!!

Last week, a lot of the band were away, which meant that the very experienced worship leader needed to bring his own band in. He asked if anyone from the church's own Gospel choir wanted to come along. One person who arrived was truly awful- flat, sharp, moving from one note to another using glissandos until she hit the right one. The very definition of Fretless Singing... Let's see how they deal with this situation. I am told that the band and all the singers will be invited along for vocal training, and each person will be recorded individually, and allowed to listen to the results. The person will be directly told, even though we have a recording of the problem already. I think that we are going for kindness, and enabling. The leadership don't want people to feel hurt or excluded. As for me, I am comfortable enough with my ability to offer to step aside, if they want to ....er...make space for new talents.

I was a bassist for a ukulele group. We spent longer talking about songs, than it would have taken to play them. We never got more than 12 songs in the set list. When we learnt the 13th song, we forgot the 1st one. I sacked myself in the end. They were, and are, a competent group. However, I had moved on from what they were doing, and just before the pandemic felt like the right time to leave. I was ask to return for a single gig. I asked for the songs and the chosen keys, but they never arrived, so I was never able to agree to the gig. I think that the chairman wanted me to agree without knowing what the songs were.

Details, please!

I am guessing that this was a top quality bass in its day, and something that your dad (and others) aspired to own. It would be good to learn to play it, to continue your dad's legacy. One of two things will happen. 1. You will try to play it and fail, and so realise what a musical genius your dad was. 2. You will try to play it and succeed, and preserve a little bit of your family's heritage. As for selling it... lots of people have £800 (or whatever it might fetch). But only you have your dad's fretless Eccles 4 string bass... PS take it out of the attic! The only wood that belongs in the loft a 4x2 roofing timbers. Buy a String Swinger, and mount it on the wall, as befits that very artistic bass.

Listening to John Deacon, I do wonder about his influences. He seems to have arrived in Queen fully formed, and hugely skilled, and very adaptable to the various styles of the band. School band; covers band on guitar; Queen's bassist.

The saga continues. Get a new bass Before I sent off the '99 XB500 for repair, I needed a replacement. A helpful Basschatter contacted me, and within a week I had collected a second bass - a '94 XB500. This earlier bass has a 3-way switch rather than a pan-pot to select the pickups - and the pickups are J-type single coils, rather than humbuckers. At first, I struggled - I felt that I had to push the bass (and myself) to get a good sound - I needed more skill, more technique, in order to play well. However, bandmates told me that they prefer the sound of the J-type, and I hear that it sits better it the mix. It is also more rewarding - find the sweet spot on the string, dig in, and it gives more variety than the humbucker ever did. (By contrast, the humbuckers on the '99 bass felt more even in response, more manageable for a novice, more forgiving - and generally, more "polite"). So, I have a replacement bass that suits me well, and which I am happy to use while the other ('99 XB500) goes in for repair. Dismantle and dispatch the old bass I did not need to send the whole bass in for repair - just the neck. However, I was nervous about removing the neck. I knew enough to loosen the strings before I removed the screws, but needed advice before I made a start. Andy advised that I should release the initial tension for all of the screws - 1/4 turn anticlockwise - and then take each screw right out, one at a time. For myself, I numbered the screws (just in case they were different lengths, or thread pitches), and screwed them into a sheet of cardboard. They were all the same, so, I popped the card and screws into an envelope which I then taped to the body. I don't want to mislay the hardware! With all of the screws out, I was advised to rock the neck lightly backwards and forward a touch, to loosen it enough to be able to lift it out vertically from the neck pocket. I should not try to pull it out from the side (the pocket and neck usually have a slight taper and so generally will not pull out from the side). I followed the advice and the neck lifted out of a nicely snug pocket, as Andy said that it should. Having suffered the mild trauma of taking my bass apart, I next need to find suitable packaging - I am thinking that a carpet roll tube and bubble wrap would be a good choice. I also need to decide whether to post it now, during a Post Office strike, or to wait until later in the month. With a new bass already in use, and the old bass in bits, the possibility of a repair is all starting to feel more real. Just for fun, here are both basses together, at a wedding (I played. The basses were not getting married . . . ). Green '99 (in need of repair); and the replacement ash (?) '94 model. Spot the differences!

So, I agree that listening to what others play can inspire us bassists. However, mimicking other musicians can only get one so far. For me, listening does not tell me why a musician played certain notes - nor does it tell me how to play those notes. For that, I (and perhaps others) feel that we need formal training.

I am starting the grades- Rockschool 2, I think. I am okay with chord charts and making stuff up. I seem to have picked up simple theory (major scales, chords, key signatures) through 45 years of playing. However, I am not so good at sight reading, and my ability to read and play rhythms is very poor. I also lack the ability to hear a song and transcribe it I am hopeful that some grades will help me to develop those skills that I lack, and allow me to become a more well-rounded player, and more useful when it comes to supporting other musicians.

That's helpful to know. I play in a church band, and previously, a ukulele band, both on bass. Certainly, playing with others helps improve one's ear, timing and sensitivity to the playing of bandmates. However, a lot of the music is improvised, with nothing written down, apart from chord charts. It seems to me that I need to develop my ability to read music. Do you have any advice, or hints?

This is the musicianship that I aspire to - reading the dots, and understanding timing too. I probably started too late, and did not have lessons. However, I do enjoy sight-reading music on YouTube videos.

Or, indeed, what confidence does the fretting system give the player, when its name includes the word Buzz - and the second word sounds like Fighting. I am yet to find out how to tune the thing properly. I have heard "fret the note E on each string, and tune to that. Also "some tuners have a Buzz Feiten setting ". However, I am yet to find a definitive answer. Perhaps it is like adjusting the bias on your tape deck. It can be done, it will sound better, but good luck finding someone who can do it.

My own bass has the Buzz Feiten system. For the past 6 months I have been seeing that a tuned open string gives me a sharp fretted string. I have started tuning to the fretted notes. @LeftyJ's post explains why. Cheers!

Mohini Dey is rather attractive, and talented but I don't like her bass playing.

So, I tried harder. A recent trip to the luthier diagnosed my buzzing frets as a serious curve to the neck. By serious, I mean noticeable, becoming unplayable, and very expensive to repair. A post on Basschat found me both a luthier that offered advice and help - and another bass, which I collected on Saturday. So, I have mothballed the old green XB500, and loosened off the strings to prevent more damage. The Green XB500 has now been replaced by an ash XB500. It's lighter, and there are a few other differences too - photos to follow. However, a new bass feels like I am properly out!