Danj

I have a simple way of solving the 'one that got away problem'.... I just don't sell anything. I'm a bit of a hoarder really. I'm really starting to motor on the 'expanding my bass collection' idea, so something is going to break (probably my bank balance... eeek)

Bought a GK mb112 from Mr Prune. Excellent condition, all as described and very flexible on timing of collection. Deal with confidence! P.s. I would expect no less from such a prestigious name as Prunesquallor

Maybe its because I didn't play a really high end one, but I played a selection of Spector basses at the LBGS and didn't get on with any of them. By contrast, the Warwick SC BN5 I played had me wanting to take it home - accepted it was marked up at twice the price of any of the spectors I played. Wait... is this another one of those 'people like different things shock horror' threads? That said, I always find it interesting to hear what people think is tonally different.

I guess people gig for different reasons. My gigs have been relatively limited over the last year, mainly the odd dep or jazz workshop. Mainly because I have found it really hard to find either a decent originals band or even an interesting covers band! I don't need to gig for the money (though it's always welcome!) and am more interested in writing interesting original music i.e. something a bit more sophisticated than the average top 40 pop song (!). The jazz stuff I am motivated by improving my playing and understanding of music. But I do miss it... probably why I try and visit open mic nights when I can for a performance fix!

I think people are using 'scales' in a broad sense here - to include the relationship between notes and everything that comes with that. I have been playing a long time, and learnt my scales and modes quite early on... but I am still now working to understand both how you use and substitute chords harmonically within a key, and how a piece of music can move within keys... and then how you can apply modes over the top to give you structured and 'thought out' ideas over the top. I had a great chat with a jazzer friend of mine about the great jazz solos, and he explained there were some players who just closed their eyes and blew vs. some others who planned and structured their solos in advance... 2 very different approaches with merits / issues. I have always subscribed to the view that 'd rather understand WHY something I did worked/didn't work than just trust to feel... and whilst I have learnt a chunk of theory, I am still fundamentally a feel player. The other thing I think is a huge advantage of learning your scales & theory is how you can apply the logic of theory within a song... so even if you know nothing about the song, you can usually deduce the key from a bit of ear training (and spot the 7th) and then you have the building blocks of the song... and can follow/provide effective counterpoint to the melody even if you've never heard it before. Sure you can just do this by ear, but thats a lot harder and riskier imo - and when you play a dep gig with an 'adventuring' guitarist who likes the crowd to decide what you are going to play, a more reliable approach makes sense.

I played a Warwick Single Cut BN5 (I think thats the model) at the London Bass Guitar Show the other weekend. I was going to take it home until I saw the £5k price tag and nearly choked on my own tongue. Sounded so fantastic though, and utterly beautiful to play. Currently in the market for a 5/6 string fretless, and GAS'ing after: F Bass AC5 (or even the BNF5 - although I can't find one anywhere to PLAY.... ) Roscoe Century 5 Fretless I also played a 5 string fretless Celinder at the Bass Gallery nearly 2 years ago when I picked up my AC, which I would have loved to buy... but of course it's gone now. /sadface

I have thought about this as well - being a 1977 boy. My problem is that I'm not sure I would get a lot out of a late 70's P, as from what I've read/seen they seem on the heavier side and 'pushed' in a stylised direction. I am thinking of ditching the 70's, waiting for a significant birthday and buying myself an early 60's P as a birthday present! Damn the YOB bit, I just want a damn fine playable fat vintage fender P sound on a bass that will appreciate in value Undecided as to whether refinishes matter... I would probably rather just have the original tatty finish. So, my advice just find a good vintage bass that you will fall in love with and put a '77 sticker on it !

Being a natural hoarder, I can never sell anything anyway.... I understand the idea, play more basses that way, but I just can't do it