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lownote

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    Near Diss, Norfolk

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  1. This has to go to a good home, Shirley?
  2. Very nice innit. I have the P version and like heem very much. GLWTS.
  3. I posted the following very recently in response to a call on whether or not to play unlined: Welcome to the (un)marked side! I mindlessly bought a cheap bass on eBay assuming it was fretted and it was not only fret-less, but unlined too. I had a choice - offload it, or play it. So I set to learn to play it. Background - I had around eight years of fretted playing and a bit of lined fretless along the way. So I wasn't entirely unused to not having the 'tin ladder'. First thing I did was check the position of the side dots - the only guide on my Revelation - to ensure they're actually on the notes, not in between as on fretted and many lined fretless. You are stuffed if the dots aren't on the note. To do this I carefully tuned the bass then then placed my finger in line with the side dots and checked the tuning in each case with a good tuner. In my case all my side dots were on the nose, except the 12th fret dots which were a centimetre adrift: really odd. I had Bass Gallery in Camden black out the existing 12th dots and drill and mark new ones on the note. Then I started playing, simple tunes for a while, where possible using G, C, D, A, etc, notes that are in line with one of the side dots (1,3,5,7.etc), looking to see where I placed the note but also listening to the result, and occasionally using the tuner to check I was in the right place. This all came much easier than I expected pretty much from the get-go. The key is starting to really listen and think with your ears, not just plonking your finger behind a fret. Then I started on the 'inbetween' notes; that is notes like F# (2nd fret E), C# (4th fret A), etc which fall between the side dots. I tried to work out carefully where these notes should be, remembering that there are two notes between the nut and the third fret mark, and again each side of the 12th fret. And also that the gaps between notes get smaller as you go higher up the board. I found that being slightly out doesn't matter so much, providing your rhythm is good, even more so if you're playing with a band or track. But finger position does get more and more critical the higher you go. It took me just hours to master the note positions up to the 9th fret marker; months to get the hang of 'frets' above the 12th, where the space between notes is much smaller. So playing low down is pretty easy, chords or soloing high up is really difficult without guide marks - I keep a lined fretless for the latter activities. In summary I'd offer five advices: 1/ don't let it terrify you, it's not as hard as you think 2/ spend a little time at first working out where notes are and consciously practice finding them, looking at first, then looking away after a while. 3/ Correct yourself when you get it wrong then practice the corrected move - don't get into the habit of guessing a position and then adjusting your finger, you'll do it all the time. 4/ Start simple and slow at first and then speed up. 5/ learn to trust your ears and fingers to get it right if you give them a chance. You can use chalk or other temporary lines to help but it's just prolonging the conversion process. I didn't have a book, or video, just worked it out for myself. I'm pretty thick, even challenged, at music and I could do it. I hold down the bass chair in a good regional blues and R&B band playing U/L FL all the time and haven't been sacked yet. Come back if you need more. John
  4. This post cannot be displayed because it is in a forum which requires at least 1 post to view.
  5. Yeah, my accountant got twichy at the number of basses I was buying and selling on BC, thought it was a business. When I pointed out I usually lost a little on every deal he said that didn't matter. Anyway, when I worked I was a media trainer and once had the pleasure of ripping the then deputy Head of HMRC to shreds, including telling her the HMRC wasn't fit for purpose. Her response was luke warm... I spect she has my number.
  6. Why? By declaring my pub gig earnings I get to claim all my gig petrol, coffee, table bass,amplifiers, cabs, etc against the tax I pay on my pension. In fact the two sums almost cancel each other out this year. Which makes my coffee and table bass 20% cheaper and means HMRC gives me a cheque and not t'other way round
  7. It just doesn't make sense, I can't see how pubs make a profit even on a £250 band - like we are (2-300), let alone 500. I know Covid's got in the way but our last two gigs we were playing to mostly our own supporters, which numbered around six people. There were other punters in but would they have been there anyway? Shirley it depends on so many things: city/sticks, popularity of the band, size of venue, time of year. Also, in many tiny pubs the band set up and their 'deafening radius' actually take a chunk out of the available boozing area. But then I don't run a pub so what do I know. My band mates have been gigging since the 1860s 1960s and they charge us at aforesaid 200-300 max.
  8. I tried these. They take forever - like, days - to tension up. You keep on a cranking and crankin and you're convinced they're going to snap. I'm told that eventually they do settle and then are very good. But as a gigging sort of bod with the need to possibly change strings quickly it's not an option.
  9. I'm mulling putting Toneriders into my Harley Benton JB. Maybe even with a KiOgon loom. Logic tells me that for £138 new this bass cannot have good wires. But maybe I'm being too negative. Any of you cats with knowledge got a position on this?
  10. Scott Devine has posted useful tutorials on simple walking bass in the public domain. Google for Scott or SBL and walking bass. He does more in depth stuff but it's behind a pay wall.
  11. Yes. But I love the thrill of the chase too much so I find the perfect bass, then flog it - and then maybe even buy the same again. Four Sires, three Hohner B Bass VI... and so it goes.
  12. I've had success from I have had success from this MO. Also, oddly, by simply involving her in the decision with a rational and long winded explanation of why I need it. What doesn't work is a bass or sax shaped parcel turning up unexpectedly.
  13. They're actually quite clever. After all they just (so far) successfully made a world class telescope out of lego, string and cling film
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