jonnybass

Cheers

Bought an mxr compressor from Cameron. Good transaction, lots of comms, well packaged. Would deal with him again.

HI Stoker congrats on the new pedal, I was at a practice with my band and found a boss syb5 in the rehersal room, Guitarist told me it belonged to a previous bass player and had been in the room unused for ages so keep it... I would recommend that you take some of the money you have saved and get yourself an expression pedal to use with it....makes an ok pedal into a good pedal IMO

I have went through Fender, Dimarzio, Seymour Duncans, Wizard and finally got to Lindy Fralins. If money is no object I would go with the Fralins, on the cheaper side Seymour Duncan Quarterpounder P with a hot jazz stack at the bridge. The fralins can be overwound to give a good 'grunt'. jonnybass

I would secnd the Effortless Mastery book, personally didnt go in for the meditation etc, but I now look at my gigging by pre/post reading the book. Same goes for my practicing. By going for 'Just five minutes practice' has got me back to a level of playing before the arrival of the Missus, the full time job and the two kids....

I love my Fender custom shop jazz colour scheme, Lake Placid Blue, Tortoiseshell pickguard rosewood board...the only improvement would be a matching headstock.

Nice bit of haggling there then, cool.

Nice bass, couldnt remember if it had the blocks...but you got a bargain I would say as it was £1,000 a couple of weeks ago.

Is it in a shop or private sale? I have seen one in a shop in Edinburgh for round about £1,000 (spent a couple of days trying to think how I could raise the cash) it was a Sadowsky Metro series by the look of it, natural with a maple fingerboard if I remember rightly..

I started out with a p bass back in 1989 and although I have used many basses I kept coming back to my p bass, and I never spent allot of time with Jazz basses. Until I picked up a Fender custom shop custom classic this year. Although it has a three band pre amp I tend to run flat with both pickups wide open. To my ears I have to hit it harder to get the low mids to cut through with loud drums and guitar, more than I have to with a P bass or a musicman, but when I do, wow what a sound....and after practicing with it allot I am now getting used to the smaller (than a p bass) neck..I now think I should have gone down the jazz route years ago.

I like to stand on the floor tom side if I get a choice, that lets me see my fingerboard, the guitarist or piano player (depending on the band), the singer and the drummer without turning round too much. Jb

I think its easy to look at any art/craft done by someone with great skill and underestimate how difficult it is. No matter how much they enjoy it it might still be difficult and so people should be paid what they are due. Everyone makes assumptions about this stuff though. Mr Fodera/Sadowsky/Tobias/Spector/Smith seems to put allot of effort and life experience into building instruments but how often is there a thread on "Why does a Fodera/Sadowsky/Tobias/Spector/Smith bass cost more than a Squire?" JB

I can recall trying a natural shark with a single pickup passive tone and tortoiseshell pickguard back in the 90's in Soundcontrol in St Mary's St in Edinburgh. The neck was fantastic to play played a few wooden necked status basses since and they all feel nice and fast, but the sound was almost p-bass but If i recall it lacked a bit of oomph. might give you a new sound with flats/rounds (whatever you dont have on your p bass). jonnybass

hi, since I replaced the original pickup in my jap fender in '93 i have tried dimarzio model p, seymour duncan quarter pounder, wizard thumper and lindy fralin. The di marzio was articulate and clear, the quarter pounder was good but hot and not too old school, the wizard was very hot and scooped sounding, the fralin is clear, does the old school thing or the modern sound a bit hotter than the di marzio... I think it will record really well. as usual this is all IMHO...

My knowledge of maths and physics isnt the best but I always assumed scale length relates to the distance between two frets (notes, harmonic nodes,whatever you want to call the place where you put your fingers on the string) I would be surprised if the distance between fret at F# on the e string and G on the e string on a 34inch scale bass is the same as the nut to F fret distance on a 32inch scale bass, if its even different by a hundredth of an inch, it will lead to interesting tuning.... jonny

I have listened to 'well (true) tempered' music and 'even tempered' music played on 'well tempered' instruments and I must say in my opnion that the music composed in even temper sounded bland dull and lacking any substance when played on 'well tempered' instruments. it did sound in tune though... Music composed for 'well tempered' instruments sounded better on 'well tempered' instruments. It would be good to hear these guitars doing the whole Baroque redone with electric guitars thing like Sky did in the 70's