neilp

Strad copies have been around for ever, but are never referred to as Strads, however well made and good to play. They are copies. My point is if you buy a jazz built by anyone other than Fender, it's not a Jazz Bass, it's a copy. When I bought my first bass, I bought a Satellite Jazz Bass copy, not a Satellite Jazz Bass.

I must not have been concentrating, so could someone help me out? When I started playing bass there was a company called Fender in the US of A who made, among other things, two types of bass, one called "Precision" and one called "Jazz Bass". If you couldn't afford a Fender, you could purchase what were known as "copies" from various Eastern organisations such as Satellite, Tokai, Maya etc. When exactly was it that the world decided that Precisions and Jazz Basses were no longer Fender products and the copies no longer rip-offs (however well-made and good to play)?

This

Only if it's a 62 reissue flannel....

A wrong note played timidly is a wrong note

A wrong note played with conviction is interpretation

Some people think fretless is an effect in itself. I do occasionally use chorus on fretless, but I use it occasionally on fretted too! To be honest, if I could find a fretless Aria SB1000 I wouldn't own a fretted bass at all

Wal Mk1 fretted, to make the pair! Not a difficult choice at all...

[quote name='Rich' timestamp='1456138250' post='2985674']
Another groundhog argument

My 2p is: Leo called it a bass 'guitar' on his patent application. I see no reason to argue with the man who developed our modern instrument.
Added to which, 'bass' is its voice. If you told an orchestral musician that you played 'bass', he'd say "Bass [i]what[/i]? Clarinet? Saxophone?"
The term 'electric bass' doesn't work because I also have an acoustic bass (a guitar as opposed to a bass viol)
So personally, I am a bass guitarist.

As stated, this is just my 2p and YMMV.
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If you told an orchestral musician you played bass, he or she would know EXACTLY what you meant. It's a bass. I'm a bass player.

When I was 22 I had a car accident and broke the scaphoid and trapezium bones (base of the thumb) in my left hand. It healed OK but left my thumb with little strength or movement. Good news and bad news. Good news is most mobility/dexterity and strength problems can be sorted with exercise. Bad news is there's no short cut. You can adapt your technique a bit - my thumb isn't perfectly behind my 2nd finger when playing double bass, which has meant my 2nd and 4th finger have to be stronger. As mentioned, lessons may reveal some tweaks you can make, and give you some exercises to help?

Don't give up, it will come!

"When you think you got it nailed and it's a great bassline, cut half of it. Then it might just be a great bassline"

My advice? Never turn down ANYTHING

I'd buy anything that feels and sounds perfect, but all of the categories you gave would hurt my aesthetic pride! To be honest, the one I'd struggle most with would be the "road-worn". Anything fake, no thanks

Call me old-fashioned, but a TE is about the only brand that would persuade me to part with my Dynacord - and that weighs a ton too!

[quote name='spectoremg' timestamp='1455236417' post='2977452']
You spoke actual words and stuff with Mike Rutherford. Envy.
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Nice guy. Mike and the Mechanics were on tour. We had a chat about how it felt to be in a more "straightforward" - his word - band, he was interesting and engaging.

A whole packet??

Diva - a bass player who insists on the crisps being in the rider (qv)

Bassist - that bloke in the band who doesn't give a rat's ass whether the punters understand, cos let's face it, even in the band only the drummer really has a clue

Must have a bass with more than 4 strings, because apparently position shifting is impossible....

Snowy White was a lovely bloke, absolutely charming. Had a chat with Mike Rutherford on a plane from Lisbon to Heathrow once, he was charming too. I've met Robert Plant three times, and he actually remembered me - that may not be such a good thing, thinking about it! One of the nicest guys on the planet, but doesn't suffer fools. That's it though, no famous bass players at all!

I'm a classically trained (Royal College of Music) Double Bass player, so yes, I can sight read. It's a hugely valuable thing to be able to do. It gets you work, it helps you to understand what you're playing. Plus, if you can find the dots for the song you want, you don't have to waste all that time working it out!

[attachment=212036:IMG_20150719_180658.jpg]
My 1980 SB1000, the nicest fretted bass I've ever owned

£200 - £250 sounds about right, I have a 60's Czech ply bass that I'm struggling to get £300 for, and it's got new Spirocores on!

Neil

When I were a lad, learning DB in the early 80's, everyone - genuinely everyone - who sat down to play used a high stool and had right foot on the floor, right leg straight. When did the trend for lower stools and a "cello" type position start? I really can't get on with it, but maybe it's just me being old-fashioned...

It isn't, and it needs an awful lot of practice to get any kind of control. I've heard several players use this technique over the years, and can't think of one who could hold down any kind of rhythm. If you're willing to put in the work, go for it, but its always seemed to me a bit unnecessary...

For me, it's as much about what you don't play as what you do. I don't think you could improve Mr Clayton's bass lines by adding notes....

[quote name='TrevorR' timestamp='1453247874' post='2957909']
An old Boss CE2-B that I've had for something like 20 or 25 years...
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Snap! Gives the Wal mwahhh even more mwahhh...
Really nice pedal actually

Long shot I know, but is this still for sale?
Thanks
Neil