ezbass

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.

Maybe try playing another way with your right hand? I used to play this in my old band and loved it. Sometimes, I’d play it normal fingerstyle, sometimes with a pick and other times with my thumb and index finger. I found it a very different feel with all 3 approaches. I know what you mean about over thinking the part though, if I thought about it too much I’d confuse this section with the next, somewhat easier, octave section (not good). Other than the r/h different approach, just lots of repetition is the only advice I can offer; sorry.

There are a few SS case bag threads, but this one has a few options within.

That’s been my take on it.

I get that occasionally, it always seems to be new for sale threads.

There’s a video from the Dune shoot where he’s just walking around the set with his 51/54 hanging round his neck between takes.

There's lovely, isn't it?

What’s going on @neepheid @Reggaebass @RhysP? Proper measured, tongue in cheek, friendly interaction? Where are the bared teeth, shouting and machetes at dawn? Shame on you

OK, this is video is by a guitar player and features some widdling (damn fine widdling though IMO), but you can skip past those. Chris Buck here addresses some of the very points raised in the last few pages. However, he doesn’t rant or get bent out of shape pushing his own agenda (or someone else’s), he just calmly makes a solid point that if you think something makes a difference (including breakfast cereal) and helps you perform better, it’s all good.

I suppose I’m a Phil Jones fan when I think about it. I originally bought a Cub (marvellous thing) then a PB300 to make the Cub gig-able, then a Bass Buddy to make a super compact rig and then a Flightcase for a variety of rigs (the Cub and Bass Buddy have long since gone now). Finding myself in sudden need of a new pair of headphones last week, I looked at PJ again (this time I did buy elsewhere). I reckon that probably makes me a fan.

Yep, it’s all to easy to get hooked into the pun cycle.

Nice! That bridge pickup has some real girth to it, not just the thin and reedy honk that is often offered up. I’m glad you explained the ‘green screen’ effect, as I’d noticed that in the other video and thought it was a cool paint job.

Something to weigh a bass on.

There are bass solos and then there are BASS SOLOS, the above is the latter. I used to be in a band that covered Free for one of our sets and I tailored a solo together for this gem from the live versions. The beauty of Fraser’s work on this is that it is a well thought out, building composition, without any ‘look how fast I can play’ histrionics.

I’m not a fan, but if called upon to do so (usually during the band introductions) I like to keep to a nice little groove (funky if appropriate) and that’s it. Nathan East shows how it should be done (from 0:30).

I’ve never played in a worship group and, given what I’ve read here, I’m not sure I really would want to (despite a recent, playful offer to replace someone and since moving north of the border - I really want/need a gig of some description). The only reason I can think of for the practices experienced in this thread is due to the performance coming from a different headspace than a conventional gig. Rather than a form of entertainment for paying punters, it’s an accompaniment for the worshippers and is provided on a voluntary basis and, therefore, the usual stringency (for want of a better word) of a gigging band is negated. Things are somewhat different in the US, from what I understand, where performers are paid and move around the local churches, on a rota basis and some players are not even church goers, just musos in search of a gig/income stream. However, as I’ve never played in church (even way back when when I was an active church member) I may be way off base (pun unintended) and feel free to educate me.

Sounds really good with the flats too.

The B string on these sounds amazing, better than a lot of 34” & 35” scale B strings I’ve heard.

Assuming that there are no pickup routs then, as @Paul S says, go for what appeals to you aesthetically and physically. If there are existing routs, however, a SS body will effectively move the pickups towards the neck leading a slightly more ‘plummier’, whereas a LS body will add a slightly more mid range focus to the sound.* *I’m imagining these scenarios without getting out of my chair and looking at a bass and I think I have it the right way round, either way, if the routs are already there, there will be a tonal aspect to consider too.

This cropped up on my YT feed and the excavated P above sprang to mind. I didn’t post for fear of feeding certain BCer’s GAS (you know who you are ).