Soledad

Thanks, didn't think of that. I'm actually trying to not buy a bass - there should be a term for that condition - but a fiver keeps nagging at me. A Korean Pro 5 ash would be a willpower challenge.

How about I come at it from the other end - i mean pitch shift the bass? Is that possible. I'll look into it - it must be a very common issue, virtually no track is on pitch to std tune 440A, they are all over the place, just by a painful amount, like 73% of a semi...!! I can't be alone in this, if anyone knows a neat simple way, I'd love to hear.

That looks very handy, usually I'm only looking to shift +/- halftone, just in tune to me. If I was transposing a song I'd normally learn it in source key then transpose how I want, so this is just to tweak to be in tune. SO, help please - I'm generally using Spotify as source - does this require files on a local drive? Basically what do I plug together and how??

One of my favourite pastimes is playing along to tracks. But somewhere between the studio floor and my mp3 there has been a pitch shift. I'd say almost every time and never consistent even on one album. So I get in tune, and every track is out. On fretless I could adjust but it's bad practice anyway I think as it messes with muscle memory. On the fretted it's a nightmare. What's to be done?

Given your right hand (or picking hand) can't be everywhere at once, I know I rely much more on the left (fingering) hand for control / damping. The other thing is the right edge of hand (fleshy bit above pinky) - often used to get a full damped sound (like when Fenders had a pad under bridge cover, or like what Carol Kaye sometimes did with her basses) - use that back edge of hand to damp, but it's not selective, I mean you can't select one string this way. I think it's a really good technique to have, totally different attack sound to fingers, requires serious accuracy... so it's just practice. There are some basslines you just can't get the same any other way. I tend to use those really thick molded ones with finger/thumb recess - less chance of losing (only slightly less!), and so stiff you have no margin for error - the flexi ones make it a little easier but in turn the pin-sharp accuracy goes with it. Good things I reckon - IIRC: Chris Squire; Phil Lynott... and loads more.

Neat, are they 12"? - one cab in each hand, amp in pocket, bass backpack... away we go

Random thought came to me today, thinking about this bass - if I could ever have had one - I'd ask to call it a MAN-RAY (Dada / surrealist like)

Mention of TC, wondering how this compares with the TonePrint downloads for TC amps?

Neat Moonbass - quite technical, but neat Actually maybe not too diff either... thanks!!

Re the FB Corvette, FNA... found this on musicradar This was a short-lived revamp of Warwick's Altus bass and actually the FNA stands for 'Formally Known as Altus'* Altus?? How complicated can this Warwick thing get... Musicradar reckon it was a short-lived variant, a bit MM sounding but still with some Warwick 'voice'. *Should be FKA then, but that sounds dodgy.

yep, I owe you that I'm after a fiver. Cracking B I gather - so many basses disappoint on the B. Hadn't seen that, thanks for link. Seems very fair for a German 5. Need to investigate the single $ pup thing, I've been used to the 2 MEC Thumb before.

Good point - I think it would be worth finding a Korean but also actually seein / playing. I'm in no rush at all but I can feel a 5 string in me bones...

Sounds good (ouch) to me - the more of the string energy going into the whole bass and staying there as long as poss must be good, dissipation not good. Then the player has the job of control. Interesting that bridge ideas have moved forward from std to Badass to string thru etc etc, but maybe the nut gets slightly overlooked - after all it is the equal and opposite end.

totally agree, it's a tough world in the 1k+ area I reckon, opens up a really good choice plus the higher end of the used market (OK, excluding the really exotics). But Andertons have £1070 on it? Maybe that's do-able if it's really good. I can wait for a S/H one

Two questions. (1) Is that Acoustic wall all yours? and (2) Do you have all that in the house AND a wife?

Very grateful for your knowledge and time shared, thanks anzoid. I'm getting it now, and their web archive will be useful. An example there's a Corvette Pro on eBay at the moment for £370. It looks to be a Korean 2010 (?), and the seller mentions some corrosion on bridge - so ferrous castings I guess. Reason for interest is maybe a fretted 5. I'd prefer ash, so I'll be looking for a German Pro and wait for a deal Thanks again, very helpful.

YES ! - first time I ever plugged into a 360 it was like a life-changer. I seriously think Acoustic is one of a tiny number of landmarks in the bass timeline that Leo started.

I agree it was those three, I've ignored 4 because JJ gets a kind of reverence from me. But to those 3 he put his mark on it all, a sort of fingerprint - what we call soul, or feel, or cool or whatever. Carol Kaye was obviously really good, but couldn't hit that intangible cool feel IMO. And of the three, maybe Babbitt deserves a bit more recognition? (just so long as JJ remains top).

Very smart work indeed. Applause. Brass nut seems a good idea, I'd imagine the harder the nut material the better. All right tasty.

OK, thanks - gets a little more complicated then. So Rockbass will be same hardware etc, but inferior woods, and far east build - ? Pro will be German or Korean depending on date, but is same hardware, similar quality woods but if Korean, maple necks - ? German Pro is the one to go for short of limited editions/custom shop - ? And is there an easy way of I/D-ing the Korean pro from the german one, other than knowing date - is it just and always maple neck? The ovangkol fretless sounds very good - it's an excellent body wood I think, a shade brighter than bubinga I feel, and looks nicer IMO. Thanks for help. If I have got the baove wrong please fix.

bookmatching on the back there is perfect 🍑

Nice that - i'm not much of a metal man, but good work there I reckon. I've always mainly played fingers and never had any probs - occasionally 2 gigs in one night and they tingle a bit, but the callouses build and should be OK I think. Also I reckon his touch is actually quite light - but with good control and damping. Nice. What does get the fingers more I think is the hard funk sound, digging quite deep near bridge pup. been using a pick recently more, mainly for the precise attack it gives - got some really thick solid ones, totally unforgiving... damn !! Kind of using the B as a rest/stop mainly isn't he?