ezbass

Although I’m currently on a short scale, fretted binge, my normal go to is and has been fretless. Plenty of other fretless players here on BC, whom I sure with say hello, together with others.

Very much this. If everyone has the same expectations then just getting out and playing together may be just what folk need to keep them interested, their chops up and feed their souls.

I’d normally ask what your bass weapon of choice is, but I think you’ve covered that .

Triangle Chat would be all over that statement.

Frank speaks the truth here. I have a Rob Allen 35” scale and intonation on that is very forgiving, which breeds confidence when playing my 33” scale fretless. I also had good experiences with the Ibanez GWB35. String choice can also make a difference.

Steven Stills immediately springs to mind and John Mayer has a very Pino vibe to his playing (unsurprisingly).

Persevere, no question. When I listen to videos of name players on fretless, I am often surprised at their sometimes dodgy intonation and famous double bass players are very often even worse, which means that it’s difficult and us mere mortals shouldn’t beat ourselves up too much. This is not an excuse for letting your technique slide (pun unintended, but I’m quite amused by it), we should strive to be better. However, it’s certainly not a case of thinking maybe fretless isn’t for you and jacking it in. I’m on a bit of a fretted binge at the moment but, up until now, fretless has always been my preferred modus operandi. As you say, it’s a point of difference, which is another reason to keep at it.

Check out the gig bag and cases for a Mustang threads, they might be the very things.

Hope that wrist mends quickly, in the meantime you can post here one handed.

Quality, one pass drivel mind.

The accursed double post bug!

Ah, whilst I was typing, my esteemed colleague above appears to have made much the same point. He obviously can type faster than I can.

And then there’s the actual performance of the song. Yes, it might be a well worn, even clichéd chord sequence, but that doesn’t take into consideration note placement or dynamics, for example. There was/is an SBL video of Michael League playing the same 3 or 4 note riff over and over, but it starts on different 8th notes, giving it a totally different feel. Then there’s altered chords (the pointing out of which is much beloved by Mr Beato) where the bass doesn’t necessarily follow the root progression, but it isn’t always obvious that it is different. We’ve gone a fair bit OT and I think it needed doing, so to drag the thread back kicking and screaming to its origin… playing cover songs you don’t like is almost an occupational hazard for those who play covers. However, one shouldn’t dismiss these tunes, or just knock out something passable. If time allows, have a good listen and give it your best, especially if playing for an audience (they might not necessarily be paying you, but they’re giving you their time, even if they might be inebriated/not care about the complexities of the song you’re playing, or lack thereof), you might just learn something and if you don’t, it’s just good, musical discipline. Finally, if you have any say in the song choice and absolutely hate something in particular, for whatever reason, see if the band wouldn’t mind dropping it, you can only ask.

I’ll watch him, but I’m fully aware that he promotes his channel with plenty of clickbait titles. One week it’s the ruination of music, the next it’s what makes the same song great. Plus his ‘reactions’ are pantomime at its worst.* *On no it isn’t!

I see what you’re saying and normally I’d just roll my eyes and move on. However, I’m afraid, on this occasion, I couldn’t and I’m OK with that.

Back in the mid ‘70s I was always in the Hammersmith Odeon, normally a fantastic sound (something that is still the case going on latter days gigs I’ve been to there. However, when I saw Rory Gallagher, despite being a fantastic performance by the three piece, the above was my physical experience, something was very wrong that night 🤢.

It was fine, but then it got all… well, we know what happened.

My old keyboard player has perfect pitch and an amazing memory, he’s savant like. He can play anything after a listen. However, to get the feel and nuance correct and to play it with others, he’ll work it up until he’s personally happy and he has very high standards (not surprising really). However, to blow my own trumpet and laud it over mere proles, I’ve nailed Prince’s When Doves Cry, with just one listen and without even placing my hands on my bass. What do you mean there’s no bass on that track? Ah, this is embarrassing and I fear the jig is up. Ooh, look over there, it’s an elephant!* * Ezbass has it way on his heels while everyone is distracted by the large, grey pachyderm.

Right, I said your mileage may vary and my post was just from my POV, yet here you go making your POV the only one that counts again. You say learn it and then say you spend more time on it if it works, not quite the spirit of your previous, ‘knock out something passable’ posts. Also, when did playing and performing become 2 different things? As to your facetious ’essay’ comment; really? I don’t have to try deps and jams thank you, I’ve done plenty of short notice deps and jam nights, both on bass and guitar and I never find them fulfilling. That’s I don’t find them fulfilling, others may love that scenario, it’s not my preferred outlet, but I’ll do them and, in the case of deps, get asked back.

Maruszczyk Jake.

Being able to play a song after one through is certainly possible if you just want a passable backing/busk, or are under time constraints. Whether that is good enough for your inner musician (being satisfied that you’re doing the best that you can), is a matter for personal reflection. For my part, I know when I’ve not given a song the attention it deserves and I’m usually not happy with that, feeling that I’ve not only cheated the punters and fellow band members, but also myself. YMMV.

Whether one likes the film or not, the combination of songs and footage in Top Gun is an exercise in clever matching, Danger Zone and Playing With The Boys being prime examples.