AM1

[quote name='Musky' timestamp='1382375737' post='2251430'] If we're talking celebrity basses I'd go for Lemmy's maple boarded Rick. Just to see if it really is a Rick. And then publicly burn it if it turns out to be a 'faker, just to keep JH happy. Oh, and welcome back to the forum Anne Marie. [/quote] Why thank you kind Sir :-) No one has said a GB or a Status Empathy yet. You're all sacked! :-) There's something not right when all my top five dream basses all cost more than a "sensible" small car! * * sensible, what's that?!

I need to achieve some improvement in technique and overcome a plateau. Currently, I can commit to the time needed to do this and need someone that can commit the effort needed to make a plan and set me structured practice/objective focused lessons. Ideally, 2 double lessons per week with practice in between. I appreciate this sounds intensive but that's what is needed. Possibly via Skype or else NW or Birmingham area (I travel a lot so that isn't an issue). I'd want to do this every week for the forseeable, as I will undoubtedly lose ground again next year or possible forced playing layoff with increased work demands.

Howdy Tough question, but if money was no object and you could literally have any bass on the planet, what would you choose and why?

[sub]So it is a ghost note? That makes sense. Ta. The D then is just naturalised as it would be sharp otherwise due to the key signature. OK. Yes, double sharps are usually in front of the note in normal sheet music, so bass transcriptions seem to follow the same protocol. [/sub]

That's what I thought at first!

Howdy. In the following transcription, just checking, is the X symbol supposed to be a double sharp? First bar line 4 is an example and then onwards in the repeat scenarios. If so, why is a C double sharp denoted i.e. a D, followed by a D (naturalised) instead of just writing it as just 2 D naturals? Is it written that way just as a function of the key signature? [url="http://johnjosephwilliamson.files.wordpress.com/2012/06/sib6_quite-firm-bass-guitar.pdf"]http://johnjosephwilliamson.files.wordpress.com/2012/06/sib6_quite-firm-bass-guitar.pdf[/url]

[quote name='Townes1992' timestamp='1332672581' post='1591333'] It seems i start too many threads on this forum, my apologies haha!! I had a little serach through the forum, but there wasn't much info on these guitars. Nevertheless, I was curious as to whether anybody has played any basses from the ESP ltd range? I'm still on the hunt for a bass, these go for pretty cheap too ! Here's a link if you want to check them out: [url="http://espguitars.com/basses.html"]http://espguitars.com/basses.html[/url] Cheers [/quote] Hi - apologies as I haven't yet read the full thread, but if you are thinking of getting an ESP bass, do it! One of my cheaper basses is an ESP and it is surprisingly good with excellent build quality and playability considering the price - mine has an active pre-amp and at the upper end has a growl you don't expect from a bass in this price range! It does flatten out when turned down but doesn't go weedy or too "thin" in tone, in fact it is versatile for a more funky tone. An underappreciated bass for sure! I like it better than certain basses I've paid x4 as much or more for! Now I remember, ESP basses are played by some fairly decent rock/metal etc bassists! Try here, this is on a 5 stringer but it has some bite and can definitely growl plenty more than this! http://www.youtube.com/watch?v=i4Pie_9IQ9Y&feature=youtube_gdata_player

Ping! What's a short scale?

Hey TattoDevil, you were late coming in! Dum dum tish! Coat on, running out the door!

[quote name='Beedster' post='671020' date='Dec 1 2009, 01:20 PM']Thanks Anne Marie, that's a useful post. It's been a pretty disheartening process to be honest (I think you had the same), there's just so much BS out there. Several guys, both private sellers and stores, have told me their particualr '64 is '100% original', only to start fudging when I point out that the bridge is wrong or the finish in the neck pocket is wrong for the finish on the body. OK, I don't really care TBH, but if it's advertised as 100% it damn well should be.[/quote] Hi again Chris, yes, very disheartening indeed. You are correct that there is so much BS out there. There is something deeply disappointing about finding an excellent Precision and setting your heart on it, only to find out in pre-sale enquiries that a shop/seller has not been entirely honest. It appears to be a relatively common practice to position older Precisions as 100% original, however my experiences are identical to yours, often when you drill down, the bass is not at all original, i.e. bridge/wiring/pots replacements etc. If a bass is positioned as completely original, anything less simply isn't good enough and being kept in the dark about the instrument's true characteristics doesn't enable appropriate price negotiations. Whether an instrument is intended for gigging or for collection purposes, the resale value of the instrument is compromised if the originality element is altered. This nonsense never happens when buying pieces of artwork, it is simply a given that the provenance and originality is countenanced by the seller, rather than the latent misrepresentations we're discussing. It is quite simply, unacceptable, to either "make up" the answers because the person can't be bothered finding out, or to simply lie, just the same as it is to make false representations of goods in any other industry, for example, when buying a car, house, etc. [quote name='Beedster' post='671020' date='Dec 1 2009, 01:20 PM']Also the quality of set up on instruments in shops is often appaling, I don't mean slightly high action (which is preference anyway, as long as it can come down that is) or poor intonation, but basses that are simply unplayable or have such poor electrics that they cannot be evaluated. If, as has been said, "it's an easy fix" well f**king well fix it then; if you're asking £4000 for the bass it's kind of the least you can do! I seriously wonder whether the traditional UK vintage market place is people who simply don't expect a playable instrument?[/quote] Absolutely agreed. You wouldn't spend 4k on a car and expect to tighten a too slack brake cable yourself. Nice to see someone else with proper standards and realistic expectations. [quote name='Beedster' post='671020' date='Dec 1 2009, 01:20 PM']Anyway, I think I've exhausted the UK market and I haven't found many people with '64s I'd want to buy from. I will say that Steve at Chicago Music Exchange has probably been the most helpful dealer to date, but the costs (courier, VAT and import duty) on a £5,000 bass simply don't bear thinking about [/quote] I feel your pain, but keep looking, these older Precisions are a tough quest, good luck!

[quote name='Stylon Pilson' post='670180' date='Nov 30 2009, 05:17 PM']I think that's the way it will pan out. As I said in my original post, I've been reluctant to make such a flat-out statement, because I'd prefer to judge each opportunity on its own merits, but I guess that the time has come to set some parameters that are easy for the band leader to comprehend.[/quote] The other members of the band that have declined to play with the trio have set clear parameters and as a result there is no ambiguity over their intentions. [quote name='Stylon Pilson' post='670180' date='Nov 30 2009, 05:17 PM']Still, there's more to it than that - even if the full band was invited to do 2 hours for an audience of 5, I wouldn't want to do it. Maybe I need to draw up a list of criteria and a scoring mechanism that I can present to him.[/quote] If the band leader is lining up gigs like this then clearly he will accept any gig. [quote name='Stylon Pilson' post='670180' date='Nov 30 2009, 05:17 PM']Yes, and I suppose it's my own fault for not being clearer about what I am and am not willing to do. That said, I feel like if he's been paying attention, then there should have been enough clues for him to figure out my tendencies, but I guess not.[/quote] He doesn't sound like the kind of person who takes subtle clues into consideration. If you accept his 5 punter gigs grudgingly but then let the resentment build and are trying to convey subtle clues, he is presented with a lot of ambiguity and passive aggressive type responses. If he doesn't hear firm statements and firm NOs, he'll interpret your mixed messages as a go ahead. The main problems is that because your approach is that you want to take every case on its own merits, he interprets that as you'll do any gig, unless you are actually unable to make that date. The others have stated their clear rules and therefore he doesn't approach them on a case by case basis. He does not sound like he can operate effectively in the face of ambiguity and your subtle clues therefore won't work. [quote name='Stylon Pilson' post='670800' date='Dec 1 2009, 09:50 AM']Yes, I did feel better for making my feelings clear on this. Though I did feel a bit bad for being the one who let the side down. The overall result was "we can't do this gig because SP doesn't want to" whereas I would have preferred it to have been "we can't do this gig because SP makes a compelling argument why we should not." Not for want of trying.[/quote] But it's already abundantly clear that he'll accept pretty much any gig, so for him, there will never be a compelling argument why you should not do a gig. The rest of the band probably feel the same about these one horse town gigs but won't speak up. The reason for that is of course a function of the band leader's manipulative behaviour, i.e. refusing to see basic common sense and instead positioning it as the band "having to" turn down gigs because of SP. It sounds like there are some powerful mind games going on there because you're being positioned as the one that's stopping the band from accepting a gig, when the reality is, that it is of no benefit for the band collectively to do the gig. Pitting you against your peers in the band in this manner is complicitly putting pressure on you to do things you don't want to do. The reasonable response would be for him to recognise that you have a point and playing to 5 punters, 3 of them bar staff, is clearly not feasible and drop that gig. The unreasonable response is to position it to the band that they are losing a gig because of you. The others have had no problem saying they won't play certain stuff, yet the band leader will still go and play as a trio, without the full band. That is because the trio are enabling him to do this. If the others can turn down gigs and feel no guilt or peer pressure or manipulation, why can't you? So, dump the passive aggressive stuff, state clearly to him that a 5 punter gig is fundamentally unconstructive for the band in your view and for this reason you won't consider those gigs and won't do such gigs either as a full band or a trio. If he again positions you to the band as turning down gigs because of you, put it to him and/or indeed, the rest of the band to advance a compelling argument why the band SHOULD accept such gigs. Once the matter is floated to the full band, you may find that others will speak up and agree with you, they simply don't want to be seen as the initial "dissenter". It's better to nail your colours to the mast and push the responsibility back to him, to give you a good enough reason to change your mind. If he wants to play band leader, the onus is upon him to assist your understanding of what benefits a 5 punter gig will afford the band, not on you, to accept every toilet gig going, simply because he is putting his personal agenda ahead of the bands'. For you, analysing why you have difficulty in saying a straight and direct NO, irrespective of the potential consequences and/or resulting subtle manipulation, is at the heart of this.

[quote name='Sibob' post='670419' date='Nov 30 2009, 08:57 PM']Yeah, I did slacken strings between truss rod adjustment, but am probably guilty of taking them back to pitch too quickly! But your last sentence is very positive.....we like this lol Si[/quote] No. If tuning finally snapped the rod, it was already over-adjusted. Tiny, slow, measured adjustments over time and patience is fairly crucial.

[quote name='Beedster' post='662534' date='Nov 23 2009, 11:48 AM']Hiya mate, yes, I looked at that. I wasn't all that impressed by V&R though, they seemed unsure of too many important factors with both that bass and the two Jazz basses another BCer was looking at. At the price they're asking I'd need more than "we have it on good authority that it's all original" (I asked for the month of manufacture and they said they hadn't had the neck off to check, which worried me. Furthermore, if you haven't checked the pocket and cavity you surely can't state for sure it's the original finish). In short, and ironically, they seemed to have a pretty casual approach to demonstrating the 64's vintage or its rarity.[/quote] Sounds all too familiar. Any bass shop purporting to sell vintage instruments, should easily be able to supply paperwork warranting that they have inspected an instrument and documenting their findings. If they decline to do so and try to sell the instrument on a handshake, time to walk away. "Good authority" is not acceptable proof of an instrument's provenance and hearsay validation would never be acceptable in any other industry. [quote name='Beedster' post='663249' date='Nov 23 2009, 10:15 PM']Sad but true fact about the UK retail sector is that I've emailed several dealers in the UK and in the US regarding their respective '64s, and whilst most of the US dealers have got back to me not one of the UK dealers has. Gotta wonder if this is simpy because when you ask questions about provenance and originality, they can't answer them?[/quote] What is even worse is statements such as (for example), "we were told it was this year" or "we'd rather not remove the neck". If a shop sells an instrument represented as having certain characteristics, for example, year of build and that instrument then turns out to not fit the representation, the seller is still guilty of an offence under the old Trades Description Act. Such offences carry a 5K fine or a custodial sentence, depending on severity and "mistake" is no defence. So, whether the seller misprepresents goods knowingly or not, they are still committing the offence, which is one of strict liability. If a seller won't provide a piece of paper documenting their inspection and findings for an instrument, it's time to walk away. If the goods are as described, there should be no problem evidencing this in writing. A failure to do so indicates that the shop are either too incompetent or lazy to perform the requisite inspections, backed up in writing, or they are simply not being honest. Either way, such trading practice is deeply unprofessional and unethical. [quote name='Beedster' post='666371' date='Nov 26 2009, 03:50 PM']This search is proving interesting. Is it just that I've had back luck or do a lot of shops buy basses without really knowing what they're buying? There certainly seems to be quite a lot of "it used to belong to....." as if that in itself is evidence of authenticity? A couple of '64s' have also turned out to be somewhat later on closer inspection - folks seem to take the neck plate number alone as de facto evidence of vintage, which I find amazing, especially given Fender's history, even pre-CBS (does taking the neck off, as some people suggest, really represent a risk to the tone and structure of the instrument? OK, that was not a serious question! But one guy said - in response to my requesting pics of the heel and pocket - that as the neck's never been off the bass before he's not going to be the first to do so now!! OK, if he's not the original owner how the hell does he know this, and if he's never seen the pocket and heel, how the hell does he know what he's bought? Answer, he's either an idiot or it's a con). Rant over, the search continues[/quote] Again, a seller should not position an instrument as being of a certain year of manufacture, if they themselves have not, either, inspected the instrument fully and properly and are prepared to state material findings in writing, or, are already able to provide documentation detailing a prior inspection. If they waffle out ridiculous nonsense about their terms and conditions, again, walk away. It is consumer statutory rights that are relevant and a shop's terms and conditions cannot override the legal providence governing sale of goods. No point in wasting time and effort engaging in this discussion with anyone that tries to defend the indefensible, just take the business elsewhere. It is simple. If a shop or seller cannot stand by their representations of an instrument and back up what they say in writing, it's time to walk away and take the business to someone who will do the job properly. Verbal diarrhoea doesn't cut it for those living in the real world.

[quote name='maxrossell' post='659799' date='Nov 20 2009, 12:32 AM']Dragonforce. A while back I ran into a couple of guys who delivered cables to the studio where they recorded Ultra Beatdown and they saw the guitarist who isn't Herman Li cutting some harmony parts over a half-speed session. To be fair I couldn't even play their parts at half the speed, so kudos on technique either way. Not that I particularly like their stuff, but hey.[/quote] Yeah IIRC their bassist uses ESP, I have one, very under-rated!

An intriguing question and I used to think P-Basses were versatile to cut it all but now I am slowly beginning to think that no matter how good the player, some people just can't get a P to become a funk machine. I am getting much more into active basses now though for the sound and for me, that's where the P falls down, still an amazing bass though, especially the older ones, but in the right hands, they can hold their own against pretty much anything! Rounds and a pick, great rock sound, flats and fingerstyle, funk machine....such a versatile bass, I love P basses!