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[quote name='lemmywinks' post='1019971' date='Nov 11 2010, 12:55 PM']Hmmm. I like natural finishes because i think a nicely grained bit of wood is nice to look at, that's it. It doesn't make me feel closer to the instrument, nor does it make my playing any more "natural". I like it for exactly the same reasons you like painted basses - the appearance To me it's much less flashy than a painted bass, don't even get me started on white basses! Bloody 80s yuppies! [/quote]

[quote name='Bilbo' post='1019949' date='Nov 11 2010, 12:38 PM']That and the fact that paint/laquer etc usually covers second rate lumps of wood I think a little of it is that wood doesn't date quite the same as some coloured finsihes. And many people just have an aesthetic preference for wood - wooden tables, wooden beds, wooden doors, windows etc.[/quote] So why did householders in the '60s and '70s paint all their wood and nail hardboard over their Victorian wood panel doors then?

[quote name='Mr. Foxen' post='1019922' date='Nov 11 2010, 12:20 PM']natural wood lacquer. Cellulose has an actual specific meaning, I'm picking out the words that are used that don't mean anything, except an association with 'good tone'. Is 'tone' even the right word? Should it be 'timbre'?[/quote] Timbre, correct.

I much prefer painted basses, don't care what the paint is, nitro, poly, acrylic .. and I like them white. I think this obsession with seeing wood grain, that so many bassists seem to have, is a bit strange. It's as if they will feel closer to god if the wood grain is visible. Everytime they pick it up and behold the evidence of the natural world, it's like a little trip to Nepal to find oneself. If the bass has the wood pattern visible, preferably unfinished and just oiled, the player will experience the PERSONALITY of the bass, and they will will PLAY with personality. They will bond with the bass, they will stare at the unique and beautiful mesmerising patterns in the wood and they will appreciate BEAUTY and WHOLESOMENESS in the patterns and this will help them become one with the earth and the stars. Their minds will open with this BEAUTY and their music will be unique and beautiful and they will BECOME ONE WITH THEIR BASS! Then they commission another one a few months later.

[quote name='Mr. Foxen' post='1019905' date='Nov 11 2010, 12:10 PM']Tone is all about keywords: plastic = bad, wood = good, so describe something as 'plastic' makes it sound bad, describing same thing as 'natural' means it sounds 'distinctive'.[/quote] What about "cellulose"?

[quote name='chris_b' post='1019850' date='Nov 11 2010, 11:17 AM']Ahh. expert analysis, as usual.[/quote] As expert as the op's link Chris

[quote name='MoonBassAlpha' post='1019843' date='Nov 11 2010, 11:09 AM']What's the finish like on your Warwicks? [/quote] Black High Polish on the fretted. Acrylic on the Fretless. [url="http://forum.warwick.de/10-warwick-basses/2050-sound-natural-oil-finish-vs-high-polish.html"]http://forum.warwick.de/10-warwick-basses/...igh-polish.html[/url]

[quote name='stevie' post='1019809' date='Nov 11 2010, 10:42 AM']I would personally take anything this chap says with a very big pinch of salt.[/quote] Me too, totally bollocks and unscientific. Rubbish.

I will bring the Chris Squire Electra tribute build and a Squier Classic Vibe TTS Strat, and the POD X3 LIVE.

[quote name='Bilbo' post='1019748' date='Nov 11 2010, 09:40 AM']Learning to read music does not require a 400 page tome but a short 'these are what the dots mean' explanation. THe difficulty (which is less so now) is finding source material to [i]practice[/i] reading. In my day, the books were full of Campdown Races, Franki and Johnny and excerpts from The Trout and had no value for me as a player then or now. Nowadasy there are more options (many transcriptions are on here). FOr instance, learning what each note means is easy. Take a blank sheet of music paper and write a series of notes in straight crotchets, four beats to the bar (i.e. no rhythms to read). Write out 8 bars of two notes, say A and B in a randon sequence (ABBAABAABABBAABABABBABABAABAB, for instance) - concentrate on reading those two notes alone until you get the 8 bars right (if you find you have learned the sequence, write out another one - you are learning to read, not to play this sequence of notes). Then Write out eight bars using only A, B and C. THen try 16 bars of A, B, C & D. and so on. I recommend you don't learn those mnemonics (All Cows Eat Grass etc) because they tie you into a process that slows you down. Just learn two notes, then add a third then a fourth and so on. You will be reading sraight crotchets in no time. Then you can start looking at reading rhythms after you know what the notes are.[/quote] That sounds like EXCELLENT advice Bilbo. I learned the all cows eat grass way and it actually does slow me down. Thanks. EDIT: Changed from VERY GOOD to EXCELLENT.

[quote name='far0n' post='1019235' date='Nov 10 2010, 07:28 PM']C'mon then own up... Have you done it ???? I do move gear round a bit myself, but always second hand... that way you don't lose money. Surprising the number of TC electronic bass rigs that are springing up at the moment. Maybe they're sh*t ? Who knows ? [/quote] Jeesus, far0n, where have you been? Haven't seen you around for ages.

[quote name='steve-soar' post='1019288' date='Nov 10 2010, 08:07 PM']"I am a professional trainer and been trained as a trainer" I see you as one of these. [attachment=63647:samba.jpg][/quote] Eugh! They are disgusting mate! Is that how you see me!? I'm strickly a Puma man

I'd like to know what Jake might recommend. I am a professional trainer and been trained as a trainer - I had a lesson with Jake last year and if anyone I've ever met knows how people learn, and what individual's learning styles and requirements are, it's Jake. Maybe there's a book out there which Jake feels more or less accommodates different learning styles and needs? Not dissing anyone else's opinions of course, I'd just like to know Jake's opinion too.

[quote name='Doddy' post='1019262' date='Nov 10 2010, 07:48 PM']That is a great book,and Paul's a top bloke, but for those thinking of learning to read I'd recommend a book without tab,just to remove any temptation. Otherwise,I'd recommend this book any day.[/quote] Tab kinda destroys the point doesn't it? I always found tab to be horrible to learn from anyway.

[quote name='skej21' post='1019240' date='Nov 10 2010, 07:34 PM']IMO this is the best Bass book for a range of learners; The Bass Bible - Paul Westwood [url="http://www.amazon.com/Bass-Bible-Verlag-Paul-Westwood/dp/3927190675"]http://www.amazon.com/Bass-Bible-Verlag-Pa...d/dp/3927190675[/url] It has CDs to help those who learn by ear, has notation & tab together to help you learn to read (or just read what is written in the way that's best for you) and then has a range of content starting at Motown and groove based stuff (covering key players such as James Jamerson, Stanley Clarke, Chuck Rainey), moving through world music (African, Latin, Middle East, Guinea etc etc) and moving into pieces that help you develop more advanced techniques (such as slap bass, natural harmonics/artifical harmonics/chordal harmonics and Jazz/Progressive lines)[/quote] This thread now needs to be retitled "Book Wars"

[quote name='stingrayPete1977' post='1019184' date='Nov 10 2010, 06:58 PM']This would be amazing if this thread actually turns out useful! I really will have a go if we gets some more good advice or more thumbs up on this book. Im sure a progress thread would bring some trolls in and out but overall could turn out interesting in the long (possibly very long) run? Anymore book suggestions or seconds on the one in the link? It must cover the basics, If its too heavy from the off it will get chucked in the wardrobe with the others. As I said before I dont mind if the first few pages etc are only needed for a quick refresher and Im guessing we are all at various levels anyway?[/quote] Cool! I'll certainly give it a shot. I do get tired of it easily though if I can't see any progress. I know some of the basics, but recognising the notes on the staff I find tiresome, but that's just repetition. I know chunks of theory too, but very bitty and it all needs joining up and improving massively. I have a pretty good ear, I can hear intervals and put a name to them quite often, sing complex bass lines and stuff. I think it would be great to be able to score and sight read and theoretically understand what I'm doing and how it relates to my music. I'm up for it, hope I'm man enough for the challenge

[quote name='EBS_freak' post='1019062' date='Nov 10 2010, 05:39 PM']I don't understand why the bridge pickup went on the piss - it looked to be straight up until the point of the scratchplate being installed. Was that intentional? To be honest, moving the pickups wouldn't be a big issue - I would play around with pickup spacing (nicking some measurements from a Warwick for H S spacing as a starting point) to minimise the problem. Route the cavity out and then find the pickup position that suit you best (remember you will always have a comprimise as there will be points where phase cancellation occurs).Any extra space caused by the route could be filled with blocks of wood and repainted to give an invisible finish (it would be all under the pickguard anyway)... but it would cost you a new pickguard to accommodate the new pickup positions. Must admit the phasing issue is something I wanted to try out on the Enfield basses - their spacing looks a little odd and I reckon you could get all weird phasey happenings with that! (or maybe not - Martin may have been through numerous prototyping phases with pcikup position... or just dropped lucky... or not!)[/quote] TBH, it's not the sort of issue that's going to bother me much. Certainly not for the effort and cash it would take. I decided at the last minute to position the HB like that, so I could get at least one pole under the outside strings. It sounds really good actually, even response on each string too. It's a good sound, not like my Warwick bridge pups which are too nasal for me, on the CS it's much further from the bridge. Those Enfield pups must have been a nightmare in terms of R&D. Can't really see the point either

[quote name='lojo' post='1019117' date='Nov 10 2010, 06:19 PM']Im in also as a basschat reading YTS boy, as soon as the book gets a bit more of a thumbs up[/quote] I could be tempted to get this book. I just find the whole idea of learning to read rather daunting and wonder if I will be able to commit to learning, I can get very lazy if not pushed and find it difficult. Is the book really good Alistair?

Thanks Russ, appreciate it, mind you I'd have appreciated it more about 14 weeks ago just kidding, TBH, I oftten think, for me, that two pups on a bass are a waste of time, I almost never deviate from the neck pup. But two look better

[quote name='BottomEndian' post='1018970' date='Nov 10 2010, 04:38 PM']All scale degrees are diminished by about 2,300 feet.[/quote] Genius!!

[quote name='tedgilley' post='1015223' date='Nov 7 2010, 01:13 PM']Yes, I knew the bass was tuned in fourths, but hadn't quite seen how that was valuable. Thanks to all for these replies, this helps quite a lot. Ted[/quote] I agree, understanding of it's relevance has always eluded me, why couldn't my first teacher have explained that to me in these ways?

[quote name='Bilbo' post='1018955' date='Nov 10 2010, 04:31 PM']Don't know it. But I think it is, in any event, unhelpful at the stage the OP is at to start throwing in obscure variations that are not common currency. Just looked it up. This scale is obtainable from [b]the Arabic scale [/b]by starting from the fourth of that scale. Said another way, the C Hungarian minor scale is equivalent to the G Arabic scale. That's clear, then There's the Neopolitan Minor The Welsh Minor (deep and dirty)[/quote] This is what is hilarious about the Western music system (that's really Greek), it thinks there is only a single Arabic scale. It's a bit like reading Escoffier who only had a single curry sauce in his massive book of French classical recipes. Anyway, I think it's probably time I starting learning a little theory again, to what end I'm not sure at the moment but i have periods of really wanting to understand more.

[quote name='BottomEndian' post='1018953' date='Nov 10 2010, 04:30 PM']It's a harmonic minor with a sharp fourth, is it not?[/quote] Ah thanks. And the Chilean Minor?

[quote name='Bilbo' post='1006717' date='Oct 30 2010, 08:25 PM']Major Minor Melodic Minor Harmonic Minor Diminished Augmented Major Pentatonic (relates to Major Scale) Minor Pentatonic (relates to Minor Scale) Blues Scale. [b]Pretty much everything else comes out of those.[/b][/quote] What about the Hungarian minor?

[quote name='Wil' post='1018826' date='Nov 10 2010, 02:30 PM']Are you sure the pickups aren't wired out of phase with each other? IE, swap the hot and cold outputs of one of the pickups around and see if you get the same issue? Sounds like exactly the issue I had when I first wired up my parts bass, it sucked all the low end out and left me with a very twangy, thin tone when both pickups were on full.[/quote] Thanks mate, I'll give that a shot! I'll wager you could well be right. Cheers!