mooz

Here´s a little start-up help for my german buddy … badbass is trustworthy and one of the nicest chaps I know. So don´t hesitate to contact him.

This bass is really beautiful - Played it recently ago. And DeepDee is a trustworthy bloke, too!

Hm. Then just give the chameleon-skin a try because you wont gonna find your bass anymore with zebra either …

Alright then - Go ahead with your Steve Harris Tribute Jazz …

Would love to see a tort-pickguard on your "Miller-Killer" someday.

Muting was the first and most important big thing on a six-string for me as well rather getting the high C involved in my playing.

Adam Nitti´s introduced technique is part of mine as well. The floating thumb is one of different keys for a good muting.
In addition to that I´ll support my plucking hand by muting with my fretting hand as well where it´s necessary. It´s mostly the pinkie and ring finger.

So if you get into slapping the muting looks different. It´s depending on which height your bass is located on your body.
Mine rests somewhere in the area between my hip and chest. Therefore I can lay my underarm on the B and E string gently and mute them while thumpin´ and pluckin´. Also here my fretting hand will support the string-muting for example with left palm-hand-muting.

For further fingerplaying it is useful to watch John Patitucci technique too. This is a bit advanced. He used to anchore his pinkie and ring finger of the plucking hand on the B (pinkie) and E string (ring finger) plus his floating thumb for the next strings. He uses the pinkie and the ring finger as a pivot when moving to the higher strings like D, G, and C.

I tried this out and find it became a quiet naturally approach too. Sometimes I used this pivot beginning resting on the E-string and so on. So I apply a different mix of muting techniques in order to what sound I want to get out of my six-string.

And I´m still practising and exploring, it´s never over.

For pick-style muting watch Anthony Jackson what he does when it cames to him he has to play with a pick on a 6-string. It´s much easier, because you can apply the palm-muting of the plucking-hand.

To be honest I never heard something different or special doing a rehearsal or gig when I strung by bass up with new strings. I´m just capable to hear "new string sound" under my headphones or while recording. And I´m somebody who usually hear the fleas coughing.

Ok, my usual band surroundings always constists of more than four musicians, which generate a lot of "noise" and dynamics where a new string sound must get drowned. Rarely played in trios where loudness is gentle and the zing of new strings will be recognized. Plus my basssound won´t rule the band on top. I´m always underneath it.

On the other hand - 120 Watts tell me they haven´t much headroom to give a well formed undistorted sound. In addition to the room acoustics and even the own life-condition everything can change into that "sh*tty" situation.

Don´t give a damn about it, it´s just a real gift which makes you rich for your experience.

Thanks, Sadowskys are great basses but not my personal cup of tea.

Stunning bass and a nice chap who sells it too.

Bought an Aguilar DB359 all-tube amp. Very good communication and always showed up as a man with a further helping hand. Also a quick shipping. All thumbs (& toes too) up to Brusen! Highly recommendable.

Thx,
Robert

Welcome!

Got myself a Squier Vintage modified a few years ago. Great bass & happy progress!

In no particular order:

Anthony Jackson
Jaco Pastorius
Michael Visceglia
Bruce Thomas
Mark King
Paul McCartney
Larry Graham
Victor Wooten
Red Mitchell
Francois Rabbath

Neil Cowley Trio:
"Loud … Louder … STOP!"
"The Face Of Mount Molehill"

Spocks Beard:
"X"

Marcus Miller:
"Rennaissance"

Silje Nergaard:
"Unclouded"

Michael Landau:
"Organic Instrumentals"

Tedeschi Trucks Band:
"Revelator"

What a beautiful grain! Was the finish stripped once?

I prefer 40, 60, 80, 100, 120 gauges on my beloved DR or R.Cocco strings. This gauge-alteration feels good to me because I didn´t dig the superfat step between 100 and 130.

All my fivestrings have a 34" scale and I´m doing no drop-tuning, which requires heavier gauges.

What a really nice aged RI ´62! Congratulations!

I´ll play a ´69 Jazz and a ´78 Jazz which couldn´t be different from each other, too. The ´69 is my warm bass and more versatile to much of the music I play. The ´78 is my fave-tool for rock or funk, because its bright and very tight with a deeper low end.

The tort-pickguard on that top is a bit too much of … couloured vortex.

Welcome!

Sorry for keeping no charts, but here is my 5 album list of the Yellowjackets, which I love:

"Yellowjackets"
Their debut album back in ´81. With Ricky Lawson on drums and Robben Ford on guitar. It´s a top-of-the-game JazzFunk example and note Haslips cool thumpin and pluckin bass!

With joining of the great Bob Mintzer the band became extrordinaire on:

"Run For Yer Life"

"Dreamland"

"Blue Hats"

"Club Nocturne"

I really dig the the deep locking connection between Haslip and drummer Will Kennedy, which is one of my all-favourite drummers. His skilled successor Marcus Baylor changed the band sound into a lot cooler, intellectual thing, which wasn´t my cup of tea over the years since Kennedy came these days back to the Jackets again to fill in.

I´m fairly seduced and still making my hesitating rounds though …

[quote name='urb' timestamp='1339768425' post='1694051']
Awesome thread - sorry I don't have any full length shots of my baby but it really is a stonking bass, killer tone and great to look at/play too - Sei Jazz custom 4 string (made for me in 2009):





So many nice basses here... where to start/end???
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That is a true stunner!

[quote name='funkgod' timestamp='1339775968' post='1694232']
URB,,,,, that has to be the nicest body i have seen on a jazz... ever !
not sure what wood it is but i have an early goodfellow Classic (number 41) in what looks like the same wood.

Revised my old post.....
LtoR
green bits of,
Mex cust,,,, burnt orange Metallic
Mex, Ice Blue Metallic.
Aerodyne
Highway 1
flame


Out of the 6 the burnt orange Metallic, is stunning, it has great big metallic flakes
that play tricks with stage lighting,You cant see them very well in the photo,
the 62 rissue photoflame is also a dream playability and sound
the aerodyne is for sale ( not that its any worse than the others, its not)

[attachment=110489:IMG_3460.jpg]
[attachment=110490:IMG_3458.jpg][attachment=110491:IMG_3457.jpg]
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[/quote]

Beautiful collection and nice colours! Is the flame-bass a MIJ from the fotoflame series?

Nice. What are your thoughts about the Squier 5-string?
And how come that you swapped the stock bridge from the white-torted Jazz?

And please never make a cobweb clean up!

[quote name='noelk27' timestamp='1337426664' post='1659721']
First thing to consider is that DR strings are pressure wound, unlike the Warwick Reds, so you should consider dropping a gauge to attain compliance closest to that which you're currently used to. As for the specifics of Lo-Riders, this design uses a hex core - Hi-Beams employ a round core. Strings with hex cores will feel less compliant (more stiff) than strings with round cores, and with like for like gauges there is an appreciable difference in feel between Lo-Riders and Hi-Beams. As to why some people experience Lo-Riders "dying" more quickly than other DR designs, such as Hi-Beams, this is a common feature for any string designed around a hex core, and occurs as the ratio of void to metal is higher and as these voids fill with play wear detritus. Simply wiping such strings down after use would significantly extend life cycle.

Personally, I don't think there's one right string. You have to match your string choice to your particular instrument - and by that I mean the instrument(s) that you own. Among the Yamaha BB2000 series basses I own, two have serial numbers within ten digits, so manufactured within a few days of each other in the early 80s. One can be set with an exceptionally low action, and works best with DR Sunbeams (a string that works well with many of the 2000s); the other can't be set as low and works best with a stiffer string - and although I tried Lo-Riders, over the course of six months, it now wears R Cocco strings. Similarly, the majority of Aria Pro II SB series basses I own work best with Lo-Rider Nickels, with the exception of an SB900 and an SB-R150, both of which work best with Dean Markley SR2000 strings. But, for consistency and quality, DR is the string I consume in the greatest quantity. Bought in bulk, by the box, you can get some good deals.
[/quote]

Completely agree with that. With a little exception to the Jonas Hellborg Signature set which contains a roundcore with a single outer wrap. These strings are quite stiff compared to the DR range.

Plus I´m a huge fan of the R.Cocco strings, too. Especially the steel strings. Their nickels are more stiffer.