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Everything posted by NickA

  1. I don't know any pro players 😁😁 But this bloke seems to think it's ok. ll Depends on the size of your hands I guess. And his are BIG
  2. Not really. I've only played a thumb ( an NT five) a few times and it goes from dolphin on bridge only to somewhere beyond that. Sure, they overlap a bit, but the dolphin ( my 2001 one anyway) is much more "polite" / "refined" sounding.
  3. It won't sound ANYTHING like a Wal. Wrong pickups in the wrong positions, wrong body wood, wrong "electronics", wrong bridge. It's just a neck with some dodgy extra bits bolted on. Either they know it and they're crooks or they don't and they are too I'll informed to be selling basses.
  4. Me neither! Usually have the dolphin set as a jazz ( balanced bridge and neck, eq knob out) 🙂
  5. I've two Wals, bought at random. The MK2 was disappointing at first, but much tweaking of the setup later, I really like it. Every "post pro" Wal I've seen for sale has stated much the same weight and mine are both 4.8kg. I conclude that a lot of these "differences" ( from good to dead as) are either perceptual or down to setup (eg tightening up the neck bolts does wonders for sustain and clarity). Still, I wouldn't buy one at today's prices and they don't do everything. My Warwick beats it hands down for some things ( ergonomics for one). Aggressive sound needed? I'd probably use the dolphin with both bridge pickups in.
  6. The pro 1 is real, but he doesn't even know if it's a passive or active one .. and anyway it's the type with the p position pickup which won't sound like Wal very much. £3000 tops. Have you seen the other one? (See my post). A Wal neck on a bitsa .. bought for £520 and he wants £7000. One of our number queried the prices of these and was told "we'll let the market decide". Hopefully the market will decide they're scamming barstewards.
  7. Bought at auction for £520. For sale for £7000. Skim down to the video, it's really quite amusing. https://reverb.com/item/49175471-1979-wal-pro-bass-rare-plain-face-earliest-example-frets-removed-to-play-fretless Almost everything said in the ad is untrue. Though the neck is genuine. Sorry mods, it's not eBay but still weird ( and maybe wonderful in terms oof advertising spin)
  8. I was in Paul's cow shed a bit ago. They hold limited spares, ordering in parts specifically for basses they're building ... I needed a new bridge height adjuster and he did have a bag of those due to minimum order quantities, but insisted on fiting it himself. Didnt see spare knobs hanging about. You could get them re anodised I guess. To quote Mr Herman "it won't change the sound"
  9. "I always set up my basses with straight neck and very low action. The lower the better" My fretted Wal has 1mm of neck relief and a relatively high action. Everything I can do to eliminate fret noise! Tbh I'd like a lower action but, after 30 years, the frets need flattening.
  10. Some people play their Wals with a tight truss rod and low action so the strings smack the frets .. loud and clanky. See vids posted by Joe Tischler and Vic Monte on YouTube and the Wal Facebook page. "The Geddy Sound". Also there's a lot of range in the filter electronics too; pull out the filter knob to engage the high Q filtering and you can pass through a lot of midrange. Depends on setup and playing style. They're distinctive but tweakable too.
  11. Yes, it's true! To an extent. There are collectors hogging multiple basses who really want them to appreciate. Also folk who spent $1000s on a new every option dream bass who are really scared values will fall and tend to talk up 2nd hand prices; so when someone does sell they price high. This behaviour has inflated prices and sucked in flippers which just makes things worse. Here is a fine example. They bought this bass for £520 at auction. Now want £7000 for it ...AND IT ISNT EVEN A REAL WAL ( apart from the neck). They also have a genuine pro1 they got in the same auction for £2600 (fair price maybe) and now want £10,000 for. https://www.essexrecordingstudios.com/products/1979-wal-pro-bass-rare-plain-face-earliest-example-frets-removed-to-play-fretless Shysters.
  12. I guess my electric bass technique is based a lot on my cello playing. That is pretty formalised with named hand positions which are defined by where your thumb goes, that's because there are several places each finger can go in each position and the thumb is the only static digit. Hard to explain. Doesn't that immobilise your hand? my fingers would be too short to manage it, especially on the 5-string's wide neck I'd never reach the b string. Owning a fiver made me switch to floating thumb right hand damping .. bit of a revelation that as I'd never understood the need for right hand damping when I only played a four string.
  13. Still trying to imagine any situation in which anyone would do that ... unless they had no 3rd finger. That video is a pretty good explanation of combining simandl and 1f1f. But his thumb IS fixed for each hand position, except when he's showing what NOT to do, so not quite sure what you mean. Thumb pivoting ( Rabatt technique on a double bass) is also viable, but again uses defined a thumb position for each, ( now much larger) set of notes. Personally I do tend to keep my first finger down in case I put it back in the wrong place next time I use it. Probably comes from playing fretless instruments ( And starting with the cello .. which has a short scale). Going to experiment with that. Clearly, whilst violins, cellos, double basses, classical and flamenco guitar all have formal techniques, the electric bass is too new an instrument for things to have settled down. Good discussion.
  14. That's a " position change" ie you've run out of fingers and a rotation / extension is too far to reach, so you move your whole hand, plant your thumb opposite your second finger and access a different set of semi tones. If you move your thumb when in a particular position you'll lose track of where you are on the fingerboard and have to look at your hand! Heaven forbid!
  15. But then you will have to stretch back again, with a good chance of the finger landing in the wrong place. I know I do it though, especially on fretless if I want some vibrato,; the key thing is keeping your thumb in a particular place for each set of notes.
  16. I've seen that. Marketing I guess. Bet you'd never tell the difference. Ps:. There's a thread here somewhere in which one of our number went into a Newcastle music store and insisted on trying every precision in the shop from expensive US made all the way to squires. They did NOT buy the most expensive. Try that in Wunjo or the Gallery and you could try all the £1000s costing genuine 60s and 70s models too. Best done blind-fold probaby
  17. In the end, fenders are just planks of wood from a factory. 1970 or 2022, much the same wood, much the same production method and they don't really change with age. They used to reckon that a Stradivarius violin was better than the best modern one, on the basis of 18th century slow grown wood, supposedly higher levels of craftsmanship and some aging property in which evaporation of resins and long term subjection to vibration somehow improved the wood. But in blind tests no one can tell the difference. None of which applies to a 70s fender anyway - just not old enough surely. Buy a high end fender copy from the likes of Sadowski or Sandberg. I'd include Iimelight but their quality control seems poor; some of their brand new instruments are badly scratched and dented. 😉 Dons tin hat.
  18. Don't. Anchor thumb and use different fingers to get different notes. Move thumb when you run out of fingers ... or anticipate running out of fingers further on in the tune. Whilst many famous bass players have made a living out of shifting their whole hand up and down ( aka the "bunch of bananas" technique ) it's seriously limiting. 124 in the lower positions is a good method and more comfortable than 1f1f ... Just more intellectually challenging!😁 Ps: I've been playing the cello for 51 years .. still hurts.
  19. I was a cellist long before I bought any basses. My dad was a pro cellist so I got free lessons ( and free cellos ) from an early age. It is NOTHING like playing the bass. It feels tiny and there are a million ways of fingering everything. articulation and vibrato are really important. And fifths tuning with 6 semitones to cover with all four fingers ( plus a thumb on occasion) in each pposition I'd advise a teacher .. else you might miss learning all the finger extension ppossibilities one finger one "fret" won't hack it. You might find a good old cello at eg thecelloroom.com. but a Jay Heide or Eastman Chinese made one, set up by a UK dealer ( eg Tim Toft or my local bloke David at Bassbags.co.uk ) would be lower risk. I think 25% of the cello price on a bow is perhaps a bit much once you get a decent cello; my cello ( used to be my mum's ) is about £10k worth, my best bow cost £1300 and I used a £200 one for years. My dad's cello is worth £10ks but he never spent more than £2k on a bow ( but he is from Yorkshire).
  20. Stone fox chase! The sole reason I bought a harmonica and the only thing I can play! In truth I'd hoped to manage Parchman Farm ... But much too hard.
  21. Check out the thread about Kala u basses. Don't exactly look or feel like a double bass and won't get you closer to being able to play one .... But sound wise! Shockingly realistic. I guess it depends on whether you want to sound like a double bass or feel like you're playing one. I tried a stagg and it was ok. Tried an alembic one that was almost in the "uncanny alley" of almost being right. Also played an NXT and, double bass like or not, it was a lovely thing to play.
  22. The John East version of the pick attack is simply a hi pass feed forward from the pickups to the volume stage. However, being Mr East, you can adjust how much of each pickup is fed forward, the hp frequency of the filter and the feed forward gain ! The Wal one is just a simple hp boost I think. My hearing is age compromised enough to prevent me hearing the pick attack on my fretless, but it's clearly doing something (around 5kHz according to my spectrum analyser) and I can hear it on the fretted one.
  23. I asked Vic : Sounds totally different from my MK2. Some heavy eq and/or effects in there .. or is that what it sounds like in the raw? Bright strings part of it I guess. he told me: "SWR head, EBS Multi Comp and Ged 2112. Daddario EXL170s." The "Wal" sound is very setup dependent and that GED 2112 changes the sound quite a bit. But the pro2 sounds good. Certainly not "just" the electronics.
  24. I'll get mine done before I die 🙂 GLWTS .... good job you have another one else it would be heartbreaking.
  25. I was in Paul Herman's workshop, just pre Covid, and saw the trays of tiny wound coils ready to be hand assembled into the pickups. Electrical jewelry ... some had gold plated pole pieces, which just seems silly to me. At least eight of those tiny coils in every pickup. They don't exactly knock those out in a chinese factory. PS: I like the sound of the twin pickup pro bass (the lower one) in those clips a lot more than that of the passive pro1 re-issue (the red one). What is the lower bass? A pro2 or a pro2e? That clip in the very original post was a guy called Vic Montello; he had a couple of Wals and used to post on the FB page a lot; that black one is a pro2e, but he plays it though a bank of stuff to make it sound as much as possible like Geddy Lee ... not in my view a very typical Wal sound, but he's very into it (along with weird pro Trump american politics ....... ).
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