XB26354

Nope, just tried it again, there were two side by side in the shop and they were both massively neck heavy. You can feel it if you hold the bass in both hands - the neck - end feels much heavier than the body end. I've been on sixes for 15 years+ and they can balance a lot better...

Just to add a bit of balance (excuse the crap joke) but it is very neck heavy. The body feels light and the six-string width together with the hardwood neck is probably what tips it. It's a little better standing up with a strap than seated but you do have to press down with the right forearm, hardly ideal for a 6-string. The basic tone and eq is miles better than the previous incarnation of this bass and the bottom B is very good at any price. A good bass, with better balance I'd prefer it to any sub-£1000 sixer... except the now-discontinued TRB1006.

A bit of a joke as they are Warwick branded Gotoh tuners - that should definitely be a warranty repair! All Warwick's hardware is bespoke to them so I can't see why they wouldn't replace it (at least they could return the faulty tuner to Japan for QC purposes). I'd agree that it is rare - having bought about 40 Warwick tuners, plus all the existing ones on Warwicks I've owned over the years I've never seen your problem (hope quality isn't on the slide!)

You didn't tighten the stiffness adjustment screw on the end of the tuner perhaps?

***SOLD*** Hi, Selling my 06 Warwick Corvette Custom on the bay: [url="http://cgi.ebay.co.uk/ws/eBayISAPI.dll?ViewItem&ssPageName=STRK:MESELX:IT&item=150305561496"]http://cgi.ebay.co.uk/ws/eBayISAPI.dll?Vie...em=150305561496[/url] Any questions let me know! Cheers Mat

[quote name='NancyJohnson' post='307431' date='Oct 15 2008, 10:14 PM']I can't believe there's only one nod to Mick Karn on here. His starts to Adolescent Sex, Obscure Alternatives, ALien, In Vogue, Swing, My New Career, The Art Of Parties (12" version), Still Life In Mobile Homes, Sons Of Pioneers, Visions Of China are f2cking legendary. Wise up you slackers! P[/quote] Couldn't agree more - heard Tin Drum and Oil on Canvas recently for the first time in 20+ years and they still sound great. Don't forget No More Heroes (Stranglers)!!!

I hope you like it when it arrives. There is a video on YouTube of Ed Friedland playing one (and it sounds pretty good). I've tried one (with maple board), and it might be the strings but I thought it was poor. Fit and finish is good, but the neck feels too chunky, it is pretty neck heavy, and even with a .130 tapered string the B sounded muffled. Bear in mind that the single P pickup has it's top half closer to the neck, meaning that the PU sees almost the middle of the B -string. With an added J pickup perhaps you could a tighter sound out of the B, not sure... Also the whole instrument felt like it was covered in a thick gloss finish which felt sticky, especially on the neck. I believe that Fender do not know how to make a good 5-string - their designs just add an extra string and make everything a little wider. I get to try lots of basses, and maybe a couple of dozen Fender 5's over the years (even owned a US deluxe 5 ash - guess what, great sound, naff b-string) and given that sort of money I'd get a Lakland or save a little more and get a Sadowsky PJ or something similar (if they do a five?). it's good that you can return it if not happy, otherwise I would have strongly advised trying before you buy! Of course a lot of the above is personal opinion, but I do own a fantastic Mexican P and would love to have a P-style 5 with a nice fat bottom end - the American Standard just doesn't seem to fit that bill.

My Corvette Ash 6 string weighs just over 7.5lbs.

[quote name='frank' post='295039' date='Sep 30 2008, 01:25 AM']My chord/scale and fingerboard knowledge is something i need to work on so im wondering about the pros and cons of these two methods , Willis - fingerboard harmony & Putter Smith - Improvising hand book I like in the Willis book where you are confined to a certain number of frets but the putter Smith book seems like a simpler way of getting a lot more done am i right ? I need to get the nuts & bolts covered as quickly and simply as possible, ive been playing for a long time but havent learned this stuff properly so theres a hole in my playing when it comes to playing through unfamiliar chords or keys or tunes with lots of chords I would hope that this study would lead to more melodic playing and solos Another question is that Smith plays sharp 4ths on major and dominant chords where as Willis avoids the 4th alltogether on these chords, he also avoids the 6ths as far as i can see is this just a question of musical taste Willis uses strong beats, weak beats for note choices where as Smith seems to have all notes equal (except the natural 4th) the strong beat/weak beat idea seems very strong even if a bit like a formula Again is it just musical taste and a question of getting the stuff learned by some method or other and then adjusting to suit.[/quote] I don't know about the Putter Smith book but I've had a good look at Fingerboard Harmony for Bass. It is basically a graphical way of looking at shapes on the neck in a given position so you don't have to shift all over the place when the chords change. It can help to create smoother linear phrases - The Jazz Theory Book by Mark Levine has the Continuous Scale Exercise which is actually very similar. Strong beat/weak beat goes back to bebop and beyond so is hardly novel or new - but it is actually quite important to learn to create better phrasing. Again the Jazz Theory Book says that scales are just an available pool of notes so jazz musicians should be able to play any note of a relevant scale over a chord at any time. One BIG caveat about Willis' book is that for walking bass lines most of what he puts is a bit busy melodically - you'd have to be a very skilled and experienced accompanist to make some of those lines work. It is after all only one way of looking at harmony. Just goes to prove there's nothing new under the sun

I'm pretty certain he played an NS-2 on the album - something I read in an interview with him a long time ago. On the Serious Moonlight tour DVD re-released a while ago he was playing that black ESP.

Warwick wax is soft and, depending on the wood, leaves a slightly shiny polished finish. On a Warwick Thumb with a Wenge neck the finish is almost gloss over time, whereas on lighter coloured softwoods the finish appears more matt (doesn't soak into ash or maple as much).

Reminds me of a quote (I think it Anthony Jackson) when asked about the point of reading music, which went something like "If I asked you what the point was of reading English you'd think I were an idiot." If you choose to learn nothing formal about music and do it all by trial and error or feel, it won't make you a better or more creative player than if you do decide to learn something (a myth perpetuated even now by the Beatles "discovering" unusual chord progressions and key changes, e.g. Penny Lane). Knowing at least some theory allows you to communicate with other musicians (assuming they know something too of course). Your ears are your most valuable asset as a musician, theory just puts what you hear in context.

Excellent, thanks, only about 40 years work there...

A chord and its related scale are the same information played horizontally and vertically. If you play (ascending) C-D-E-F-G-A-B (forget the top octave C for now) one after the other, that's a C major scale. If you play every other note of that major scale and keep going once you've got to the octave C you get: C-E-G-B-D-F-A (again, forget the top C). It's the same thing. You don't have to play all seven notes as an arpeggio but if you hold a major triad (C-E-G) down and play either the major scale or that arpeggio, it's the same thing. Can't learn one without the other Of course, depending on the chord, you can play more than one scale. To start off with it is probably easier to learn the most common scale that goes with a given chord and get the sound of the scale in relation to the chord in your ear. Do [i]not[/i] learn to play scales just by themselves - relate them to some kind of harmony.