NickD

Looks like the Washburn Taurus shape to me.

Are you buying blind online? That might be the problem, I think it's mine too. Ok I research, pick through reviews etc, and may even get a quick blast on one, but the days of spending a few hours playing one bass in a store seem long gone to me. I found Warwick 5 spacing too close, and always loved the 19mm on my Bass Collection, so researched and bought a beautiful Skyline 55 01... but it doesn't feel quite the same... so, now I'm idly looking into opinions and examples of 18mm 5 strings, at which point I'll probably go down the same path again. Maybe, as above, it is about too much choice. The Lakland is a beautiful instrument with a great range of sounds,,and looks great (to me), but there's always something else to chase, to tidy 'this' up, or make 'that' easier. Maybe I should just practice more!

[quote name='TimR' timestamp='1439376259' post='2842218'] Just roots isn't it? [/quote] Yup... maybe suit a bored guitarist!

A friend introduced me to this last week, I'd been blissfully unaware of her existence until then. The voice, the piano, the rhythm, and Roger Carey's sound is beautiful to me. Not generally my genre, so it may be through my ignorance, but it ticks every box for me. (There's a couple of minutes of interview before the song, that you may want to skip) https://youtu.be/hEXYLdhP8ns

For me it depends on the definition of solo (and this goes for any other instrument too). If we're talking literally, about the unaccompanied 'show 'em what you can do' type thing, I'm off to the bar. If we're talking about the rest of the band holding back and allowing the bass to take the lead, within the context of the piece, I think there's a place for that in most genres. I'd listen to that.

I like the Lakland bridge (I have to say that). I'm not a fan of fretboard markings... I just don't see the point. Does the audience need to see where my fingers are? That's the only thing I'd change about my 55 01. I'm indifferent to fretboard woods, I have light and dark and I like both. The only thing I get borderline psychotic about is headstock configuration. I only usually play 5s so it's always going to be odd, but a 4 + 1 tuner layout just looks awful. Also when looking for a new bass recently I discounted the entire BTB range on the grounds that the tuners were laid out 2 on top and 3 underneath, who decided that? A pity really, as the couple I tried played lovely.

Carl Thompson?

After how inspiring and friendly the Herts bash was, I'm up for this one too. I can throw in the Lakland Skyline 55-01, my Thomann deko acoustic fretless 5 (for those wondering what the fuss is all about in that thread), and with a bit of luck I'll have my Bass Collection SB315 repaired by then if I can find someone local to North west London who deals in bass electrickery. My old Trace combo definitely needs a service, but I'll endeavour to get that sorted prior to the event too.

According to Kanye Worst, it turned into rap!

Just had a look on Flickr, and there was indeed what appears to be a Stingray with the Unthanks. He looks to have alternated between that an a skinny bodied upright bass.

I wasn't even drinking, and it's still a blur to me. I spent most of the day chasing the twins around, and caught a bit of music when I could! I'm sure photographic clarification will be available soon.

Didn't the Unthanks have an electric bass on stage... I seem to remember thinking it was odd at the time?

Lol. He might have done, I was only down the front for half the set before I was required back for parenting duties. I only saw the upright.

[quote name='Truckstop' timestamp='1437467511' post='2826146'] Roasted neck? [/quote] No, I think it was rosewood!

Crikey, you were far back! If it was a Stingray it was a very big one, and acoustic, and fretless, with f holes and a scroll top!

Ooh... harsh break! Having said that, I can't imagine an act that Bellowhead couldn't follow in that genre. I loved Nancy Kerr's bassist, he held it all together beautifully.

I could have done without her to be honest, but I think I'd have maybe enjoyed her earlier in the day. Where she was, she was just killing time before Moulettes and Bellowhead for me. Folk by the Oak is always on our calendar, it's a lovely, chilled affair, plenty for the kids too.

This is probably the most recent... just those rhythms. https://youtu.be/y0bcTSDFScg

It's all pretty personal I guess, based on where you are in your journey. The modes demo at the Herts bash was brilliant for me, really clear and practical. If I wasn't so far away I'd be beating Nick's door down for lessons, but I'm sure it would have been common knowledge to others more advanced. So from a personal point of view, a couple of things I've often read about, but never fully understood. Playing behind and in front of the beat. I get playing on the beat (almost!)... but pushing/dragging is something that I'd love to have demonstrated. Not to be able to do it so much at my level, but to recognise and be aware of the difference, and the effect it has. Probably a difficult demo though as it'd take a pretty capable bass player and drummer I guess. Effects - I've always just dabbled (and just have a B3 at the minute), but to hear from someone who knows their stuff would be interesting. I hear people who use effects here and there and it's awful, then there are those who use loads and it just sounds right. What/how to use, what to (and not to) mix, How to mix/blend, chain order, etc... and what compression actually bloody does??? Having said that, any technique stuff of any type or genre, or any applied theory stuff is always interesting too.

I get this. I worked with a drummer 20 years ago that ruined me for all other drummers since. They're like girlfriends (only marginally less rational).

A long time ago, but the one that really got me stuck was 'Change of Heart' by Cyndi Lauper. Horrible, low, clinical staccato keyboard bass part, a hideous stretch at the @rse end of a 5 string fretboard. I said I'd find it hard to do well, what with it being a keys part, so the singer smugly whipped out a TDK D90 (yep... that long ago) with a live version on it, upon which Bakithi Kumalu made it sound easy. Fuelled by stubborn one-upmanship and a youthful desire to poke the singer in the eye metaphorically, I set about it and nailed it... two weeks later another band offered me a brief German tour, I went and the band threw me out. All that work and I never got to play it... a bloody awful choice for a pub band anyway! For different reasons, Hot Love by T-Rex. Simple enough riff, but we used to finish on it, so the singer would do his introductions, thanks, etc over it. I could be playing it for 5 mins before we even got started. Also, when it came to my introduction I never did manage to find a show off piece that sounded right and came back to the riff in time.

Useless with names... but the fretless noodling was the fella who'd set up in the hall over on stage right. It was an appropriate soundtrack to reading Nick's bass collection article. Such maybe?

If it's any consolation, you sounded good!😃

What an incredibly pleasant way to spend an afternoon! Many thanks to everyone who made it happen. The modes lesson was really enlightening, and whoda thought rosewood was the new black? Got some excellent help from our friendly neighbourhood D'Addario guy too. A really nice, friendly vibe throughout. Great stuff!

Damn, I knew someone would see this before the edit! Sounds good, I think I've managed to secure an afternoon pass-out from Wifey too!