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lownote12

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  1. He only lives up the road from me so I can see him a lot easier than going to the smoke
  2. Well, at the risk of being flamed I'm sticking my neck out and saying I'm not going, despite the waste of a ticket. I have scoured the programme and can't see its more than a pale shadow of last year's event. If I lived in norf Larndon and it was a few minutes walk away perhaps, but I'm not juddering across half of Britain on a bus and rail combination for what's listed. No early bird ticket for me next year, I'm waiting to see the full programme, even if buying late will cost me more.
  3. Nubya Garcia on sax, with the only DB player I ever wanted to listen to - Daniel Casimir
  4. As title. I need to waste more money on more tuition, so looking for DB or upright coach. Must have bass to teach me on.
  5. Hosco nut files. Only used a couple of times, so hopefully not needed again. 3 files in sleeve: 045/085; 065/105, 075/130. £40 plus £5 postage
  6. Strings look well ropey. I'd stick flatwounds on it. But whatever, I'd change them, leave the rest as is. People spend fousands trying to faux that look.
  7. I have a ticket but don't know if I can be arsed. British Rail want me to take a bus for half the 2 1/2 hour journey, and it doesn't look as good as last year when Scott wheeled in loadsa stars like Henrik Linder and Rich Brown. Try as I might I can't see much more than Cody and John Pattitucci, who is obv a god but is he worth 2 1/2 hours on a BR bus? Think I'll just chuck the ticket unless someone can persuade me I've turned over two pages at once on the programme.
  8. I have stood under this where it resides on the wall in Camden. Staff at the shop had to ask me to put my trousers back on.
  9. Squier is OK, but you should deffo look at the Sire jazz. 2nd hand they compete on price and are a whole other kettle of fish.
  10. So true. So very true. Or... those who can, do; those can't, teach. That's me - not you. Just to be clear.
  11. Setting the intonation on an unlined fretless is easy enough, I have found. But if your dots are in the wrong place it can throw you. Here's my experience: 1/ Measure back half your scale length from the inside face of the nut. E.g. 17 inches on a 34 inch scale bass. Mark the fingerboard with a pencil. 2/ With a good tuner, check this point offers the same harmonic/ open note as the fretted note on the E string. Use a sharp but not cutting edge to 'finger' the notes precisely - fingers are too squishy 3/ Discover your pencil mark is at least a centimetre away from the 12th fret marker side dots. 4/ With the tuner check the positioning of all the side dots and confirm only the 12th is out. 5/ Assume you've done it wrong. 6/ Take the bass to Martin at London's Bass Gallery. 7/ Get told that a/ no actually, you were right all along and b/ the side dots are often put in the wrong place on cheaper basses. 8/ Pay Martin a very reasonable sum to drill out and hide the old dots and put lovely new ones in the right place. PS It's funny how quickly muscle memory kicks in. I've been playing some while compensating for the wrong position of the 12th marker, and now have difficulty playing on the new correct markers.
  12. Unless you need big noise these are the mutts IMHO. GLWTS. There's a successful Norwich blues jam that manages with the 60w version. Great sound.
  13. Um, FWIW, the side dots on my Revelation start the fingerboard pretty much on the fret positions and range more and more wildly from there until at the 12th fret they're a squished centimeter out, depending on how you rock your finger. So I'm going to vote for the first option. Not because I think that's right but because as I start my journey off-piste I find I am increasingly relying on my ear. YMMV. EDIT: Now solved this with Bass Gallery's help. See separate post "Dodgy Dots.." in Technical Clicky here
  14. I could no disagree more. This would have been very useful to me as beginner. But this seems to be descending into an argument which you have to win. So I'm out.
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