Bassfinger

Just because someone is a tutor, even one accredited to something or other, does not mean they're any cop at it. Even if they are superb, they aren't god, they don't get to say what is correct, and any that are bold enough to say so are likely of a closed mindset and will be slow to progress themselves, if at all. The mass produced electric bass is a relatively recent innovation. That being the case, who is anyone to say what is right or wrong? Not me. Not Geddy Lee. Not Derek from the small ads who is advertising his bass lessons. I've had formal musical training - not on the bass - and without being immodest I can truthfully say that I progressed (before smashing my elbow) far beyond the abilities of my guitar tutor, and despite that still wouldn't deign to tell even the newest guitarist what is correct or otherwise. I might say, "give this a try", or "have you thought about doing it that way, see if it works for you?", but I am in no moral position to tell anyone that is the correct method and thus the only one worthy of consideration. I'm just not that arrogant. Watch, listen, learn, try it, practice it, critique it against that which you're trying to achieve, and then either adopt it, modify it, or discard it. None of us should be blind to progressing our playing by learning, and none of us should rigidly accept convention either. None of us should suppose that just because we favour a certain way of playing that it is "correct". If it gives you the sound you're after, if you can do it and make it work, if it doesnt hinder some other aspect of your playing, and if it doesn't give you an RSI, then it's correct. Simple as that.

Marvellous! That's just what I need, seeing as I've always wanted to sound like I was having some kind of serious medical episode while playing a stringed instrument.

I have had the misfortune to examine one - not this exact model - at a car boot sale. It was so horrible I felt dirty and violated for weeks afterwards. Google abound with tales of extreme neck shimming required to make them playable. Our hallowed forum founder had to use so something like a 5mm shim to be able to set the action, almost as if the bodies were rejects from another source where the neck pockets had been cut too deep. Seriously, anyone who can't scrape together an extra £20 for an HB would be better off not bothering, and as yet I see no evidence the new finishes bring any improvement.

The fact that it's nigh on unplayable out the box? An extra £20 spent on a Harley Benton shows the different between a genuinely decent and useable instrument, and a piece of tat that requires an absurd degree of neck shimming to be able to even set the action.

I bet it's quite a sight when you pick your nose!

And that's just the females!

Imperial units make perfect sense!

I still use the imperial units for heft, you know, 144 strains to a grunt, 12 grunts to a strain, 20 strains to a heft, 105 hefts to a prolapse.

Without expending any brain energy I can think of dozens who either do not at all, or who only do so some of the time.

I can play floating quite happily, but I don't really need to as I've big hands and can easily cover all 4 when anchored. That being the case ye olde thumb is usually on the pickup/tug bar unless I'm playing a song where I'm using my thumb to pluck (or using a pick.) My technique is a little hampered through not having proper use of or feeling in my outer 2 fingers so I do what works for myself rather than what the sage old self-appointed technique critics tell me I should be doing. It has it's advantages - I'm very adept at muting with my little finger, which has other players scratching their heads at how I do it.

You won't regret it. They sound good out the vbox, but with a bit of Warman goodness they sound epic. A bass/pickup combo that cowt less than £150 has no right sounding so good, it's against the laws of man and nature! Be aware I had to file the cut out in the pickguard ever so slightly to make the Warman fit, otherwise it was an easy conversion. The big pole pieces look like they mean business.

Warman pickup turned mine into a snarling rock beast, Wilkinson tuners required slight filing to fit but aid tuning and tuning stability, skull and crossbones control knobs make me look totally hard as nails. It's great to play, sounds sublime, was very cheap to buy and mod, and is my main bass for band rehearsals and my backup for live playing.

Mark King was well known for enjoying a particularly potent brand of Horlicks before a show.

Just tell him "you bought it, you pay for it, small claims court to enforce the contract if you don't pay."

Handsome!

I know where you're coming from Linus. I'd tried a few MIM jazzes and was a bit "meh". In one shop they had 3 Geddy Lees. I tried two, "meh" again. The third, "wow!" The sound, feel, finish all coincided to create a superb instrument. couldn't have my wallet out quick enough. Not yet found a Jazz from Fender at any price that I prefer to that individual instrument.

I'd take the plate off and have a look. An open circuit will be obvious to spot should there be one. You never know... Techs put their trousers on one leg at a time, same as you, and a passive circuit is just about the simplest one out there. Use multimeter to test each component - most of the tests will be simple continuity or resistance, but Google will tell you how to test the capacitors.

Im a lightweight compared to some of you folks with only 12 basses, 2 guitars, a keyboard and a mandolinn, but the psychology is simple - playing, admiring and owning them brings me pleasure.

I simply eat ny Weetabix.

Our rhythm guitarist did a guitar one. It's sound all round, but with ready built HB'S being so inexpensive and so well finished for the price the kits seem expensive and pointless .

I have for sale a bottle of San Pellgrino that Lemmy once refused to drink because it had no alcohol in it. A bargain at £49.999.

Just to confound the OP I should remind the audience that I prefer passive basses. See, were not all ahead of the crowd. Indeed, I'm only grudgingly in the 21st century.

I actually like System of a Down. The song structure, musicianship, the melodies and vocal harmonies, Serj Tankians stupendous voice. But by god do they whinge. War, oppression, invaders eating victims children, all the usual political commentary. Theyre quite right and entitled to have an opinion, but some of their songs leave me in the same listening mode as Barking Spiders describes.

Aye. Im at the opposite end of the spectrum. Covers only, no talent to write anything original, financially secure and independent, and long past the age where anyone is going to give me a break anyway. Im happy just for the opportunity to show off and enjoy the experiencr, but I can quite see where you're at with youngsters at the opposite end of their musical career from me. But we also support two uupcoming local bands in their teens, and where the venue is suitable will often insist that if they want us to play for beer - which we will sometimes for friends who have pubs or clubs - then they have to allow one of these bands to do a set before us. The older of the two acts are now all 16 and the exposure of their playing for free and being associated with us on the regional circuit has got them noticed and they're starting to be offered proper paid work. Rather than being taken advantage of they used it as an opportunity for free rehearsals and dry runs, and it's paid off. It's all down to how its handled as to whether it becomes a pith take or a genujne opportunity.

I love gigging. Somehow us bunch of middle aged farts have got to the point where we can each earn £400 or more per gig (we did a gig for the horsey set, they told Crispian and Portia, who told their chums, word quickly spread and we have at least one high class private booking per month through to next November), but that's just a fringe benefit. I enjoy it at a level I can't begin to describe and would happily play for free (and we do indeed play select charity gigs for free) just so long as there is an audience.