TheLowDown

Black. Looks more harmonious that way.

I definitely wouldn't have agreed to Letts making a bass because it will be a begrudgingly made bass rather than one made with care and attention. Instead, I would have taken steps to get my due money and then never have anything to do with him. Lesson learnt.

Simplicity is best I think. Rather than adding more notes, add a ghost note or replace a note with a ghost note of 2 as well as experimenting with different rhythms and note lengths with a drum pattern. A good exercise is to put on a  metronome or simple drum pattern and try to be creative with just one note.

The more strings the higher it goes. Not a great deal from 4 to 6 though. In all cases, low enough while keeping wrist as straight as can be.

lol that study has been doing the rounds since 2017, and it doesn't actually suggest that there is any best band member. It just means that timing is best being done by the rhythm section.

I bought a multiscale from them and found their customer service helpful where they've responded to my concerns and feedback. I don't see any reason not to buy from them again.

I love Sire basses but none of those inspire me.

-heavy and bulky FSO headstocks.

-heavy basses. 

-black side dots on light coloured background.

-basses that don't have a neck pickup.

There are probably other small niggles but they're the main ones.

My target is 3: a lightweight 6 string fretted, 4 string fretted, and either 4 or 6 string fretless.

There's one called Jammates on Google Play.

I used to love guitar solos when I was young, but now find to be too fingers-on-the-blackboard piercing and screechy.

10 hours ago, bassbiscuits said:

Most of the rock and metal I grew up listening to 30 years ago doesn’t really float my boat any more to be honest. I’d very rarely choose to listen to any of it. 

Me too.

Depending on your interpretation of heavy/light, the black version of Harley Benton's MB-5 may be what you're looking for.

Sire U5.

Harley Benton lined fretless jazz bass (JB40FL)

I don't think I've ever truly regretted buying any gear because there is always something to learn, even if the lesson learnt is that it wasn't right for me. I wouldn't have known otherwise so it's never a waste.

I find it easier when the dots are only in the position of the frets(3, 5, 7, 9, 12,...) so I say go for the first option. Less is more because the 2nd option can be too much visual information which can be distracting. If you have minimal but sufficient visual clues, the more you rely on your ears and what you're playing.

People get tribal when it comes to the number of strings they play, as if it's demanding some kind of loyalty to the gang.

You can buy plectrum grips that stick to the plectrum and give it a grippy surface

https://www.ebay.co.uk/itm/125599596576

You can also try rubber plectrums.

I'd say Manchester.

I quite often have that momentary feeling like being an observer of what I'm doing/saying in the middle of a conversation, but I've never had that feeling like I'm physically outside of myself as mentioned by the OP. It only lasts seconds.

I think if artists wish to use backing tracks for instruments and/or vocals then they should be free to do so, but they must state clearly on the ticket or otherwise what their setup is so that the paying audience knows what they're getting.

I really quite enjoyed that 👍. Very catchy and singable.

17 hours ago, Baloney Balderdash said:

Uhm?

 

I don't agree (well except for the sound of P Bass being the archetypical electric bass guitar tone).

 

If anything, as far as I am concerned, J Basses in general has a much more anonymous tone compared to the tone of a typical P Bass, which as far as I am concerned is full of character (and yes, I do love the sound of a P soloed as well).

 

Ever heard The Stranglers, to name just one band where a P Bass has a quite central role, and definitely does a lot more than act as just a support for the other instrument and is quite precent in the mix...

 

And it's not like even something as traditional and historically archetypical P Bass as James Jamerson's works exactly stays in the background either. 

 

If anything a J Bass with both pickups full on is likely to get lost in the mix, unless slapped, because of it's inherent mid scoop.

 

Also if you actually listen side by side to respectively a typical P Bass and a typical J neck pickup solo without any other instruments they will sound almost identical (given of course equipped with the same type/brand/model of strings and played through the same rig), the thing that will give the J away would be its somewhat more polished anonymous lack of character in comparison to the P with its somewhat more edgy tone full of character. 

 

Of course, the P can play a central role such as in a lot of soul and rnb and reggae etc, when the music isn't busy. Sorry if I wasn't clear.

With the J I have never been able to put it to any good use, whereas I view the P as more a plug and play bass that is either heard or felt. The bridge pickup may as well not be there, that bright nasal sounding tone that cuts through a busy mix is grating to me. When they are both on full, you're right, it disappears. When the neck pickup is on full and the bridge is off, you get something that tries to be a P but doesn't quite convince.

For me the P bass is the archetypal sound of the bass. The J and Stingray is probably better suited to situations where the bass needs to stand out("cut through") such as in slap based songs or in fusion, whereas the P is probably better suited where the bass is the supporting role. In most rock I would definitely pick the P.

The latest album of Cradle of Filth should get me through the day.