ezbass

Nah, that’s facing the enemy and going in at the deep end, make it so!

Good to see you back, I was wondering just the other day how you were getting on, as I hadn’t seen you post for a while (you may have and I just missed them). Either way, glad you’re on the mend.

Nope, a really nasty skin eruption: "A carbuncle is a cluster of boils caused by bacterial infection..." I had one on my knee as a kid, it was revolting and I still carry the scar today.

Oh yes, it's a carbuncle visually (although I think the P/MM isn't much better) but it sounds sooo good. Had the World's most awful neck dive and made my shoulder ache, which is why it was moved along.

OK, it's one man's opinion, but having read Andy Summers' book, he's been a self absorbed knob since day one. Perhaps all very successful stars are (and some folk who are regardless of success ) , but they just keep it hidden away? Perhaps Mr Sumner is more honest and genuine in that he lets his knobness shine through? I'd rather he just played his bass, sang and wrote more great songs. For the record, The Police are one of my all time, favourite bands and at least 2/3 of that band were tools.

Great songs. I love his work and it galls me that he's quite the tool, always has been though.

P/P, always P/P.

Your idea of going to some open mic nights and singing with a guitar or mandolin is sound, as this will build up your confidence. However, as @ubit mentions above, singing and playing bass at the same time is often a very different ball game, due to syncopation. I used to sing lead vocals on China Girl and the second half of that was a nightmare, but repeated practising at home finally nailed it (sorry, it’s the same old ‘keep doing it’ advice, but it’s true). Another potential pitfall is not committing to the performance. I found that if I was tentative at all with my vocal delivery, my pitch would suffer, but this is just a confidence thing that improves with more and more performances, both at home and live.

Trip hazard.

Your right about a change of key altering the ‘flavour’ of some tunes. Also, I don’t mind changing by a semitone but any big intervals might be fine for a solo, vocal performance, but if it’s a piece for an entire congregation, some folk are likely to really struggle with such a big difference.

Glue it back in, once stained, it’ll look like grain. There’s some nice figuring in that top, especially on the upper bout.

I thought we were an autonomous collective. You’re just kidding yourself.

Quality thread mashup!

Entertaining in much the same way as folk slow down to look at car crashes.

Paul sold me a set of used EB Cobalts. He despatched them the next working day and they arrived safe and sound soon after. Another faultless BC transaction.

Ah, OK. It was just speculation on my part, I know nothing about the band concerned.

Hmm, probably, but I’d go in with my eyes wide open for control freaks. It could also be covering up for a lack of social media savvy.

Your comment is supported by a video I watched featuring Carey Nordstrand talking about P basses. In the video he referred to making basses with wood as a “crâp shoot” as they never really know what they’re going to get with any certainty.

I think much will depend on what you find under the finish. If it’s reasonably attractive, I’d go lighter, like Mick Ronson’s LP, but if it’s a bit of a dog’s dinner, darker would certainly be the way forward, perhaps echoing the LP junior, mahogany vibe (think Bob Marley’s LP junior).

For me, the reverse was the placement I preferred in all positions. More solid and punchy to my ears, less scooped.

Red setter? No? It’s alright, I get my own coat. One more fret would be ideal for me.