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Sida79

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About Sida79

  • Birthday December 5

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  1. I do, in fact, have some places where to hide them. Behind the sofa, like you said, and even some space in the closet to slip them in upright. What I don't have is a nice accessible place where I could have any more than 1 bass ready to be grabbed and played like I used to. Since I'm neither buying a new flat or moving out actually useful furniture, having a stack of unused basses seems pointless.
  2. I know... I try not to look at it and just enjoy the sound. Wife says it's disgusting!
  3. I've always wondered about people who went far into double digits. It's not that I don't get buying instruments, I get it. But I would not have time to give those instruments any serious amount of playing, and switching from instrument to instrument requires at least some adjustment, so... expensive decoration?
  4. [ cries in Croatian] A single photo incoming edit: no idea why it's so blurry until you click on it
  5. Unlike a mechanic's tool, a musician's tool is connected to the very tangible quality of the final product that also happens to influence them personally through the feeling of satisfaction with their work. The situation is more akin to a cook permanently letting go of some ingredients. Some meals definitely will become more difficult/impossible and others might pass judgement based on that, but you are admitting to yourself you're not striving to be a top chef and just want to enjoy a nice meal now and then.
  6. Different colors? In all seriousness my three jazz basses are as different as they can be. Limelight sounds very woody, custom sounds very plasticky and Fender is in between. Custom has a very deep sound, Fender is quite bright, and Limelight is in between. Different strings suit them, they have very different neck feels, string spacing, etc.
  7. Thank you for the great advice, everyone. I think ultimately the solution is me accepting the things I'll lose, not caring as much about it and embracing the things I'll gain in terms both physical and mental space and hopefully concentrating less on fiddling about with the instruments and more on actual music. I will indeed: -Loan out the custom five string indefinitely to a guitarist in one of my bands. He'll definitely use it to record some low end ideas and I should've thought of it sooner. -Sell the Fender. Just like with my ex Gibson Thunderbird, it's a great bass but it's not unique and I could theoretically buy another one like it if for any reason if I really wanted to. As much as I'd love to have only one bass I'll keep the Limelight Jazz with rounds and the P (which is actually a Limelight PJ) with flats. And then probably buy more Limelights, lol
  8. Haha... yeah, I guess. Nothing in particular, I just bought it fairly recently. Fender is seen as the "default" sound so I can either subdue it with the tone control or make it sound quite modern with the right strings. If cranked it can easily sound like "too much of everything" and it's easier to remove the extra frequencies that are there than it is to add the ones that aren't. Often it's that very sound that sounds terrible singled out that sits best in the recording. I never really knew how to do the same with vintage sounding basses. I find them amazing if they fit as-is, but other than that I've never managed to make one sound modern. I can put steel strings on and pound them with a pick but that brings a different type of aggressive sound not everyone is fond of. But overall I'd say it's probably just my habits and limitations, more than the actual basses themselves.
  9. That's a great idea, but I've been struggling in the past with DADG... I think I'd need a complete 4 string detuner I think that's precisely my issue, which is my least favorite? Perhaps even the bass I play the most since usefulness does not have to be exciting 😕 Oh, I've had more... but at one moment I promised to myself never to have more than 4 again and stuck to it, if needed selling one to buy another. But until now I've always had at least one bass that might have been "fine, but not my thing as much as the others". Was a hoarder when I was single, so now I'm starved for space. Basses are still much cheaper than new apartments! True, but I still miss the ones I've sold. So many unique basses... the ones I had, at least, not this weird 3 x Jazz situation I have now haha
  10. Anyone else have this first world problem? I don't play nearly as much as I used to and since I've become a family man I don't really have a place to store a collection of basses, but can't get the number to less than four to save my life due to that familiar feeling of each one "being different" and bringing to the table something the others don't have. I've got 1 x Precision and 3 x Jazz currently. Despite this I've always been a Precision guy. Don't ask why, it's not rational, they somehow suit me on a level I can't quite put into words. Whenever I'm practicing or writing songs, it's most likely I'll grab my Precision, so selling the only one I have would not make much sense. So, sell all the others, right? Well... I've got a Fender Jazz, a model I've always wanted, that is easily the most versatile bass I have and most likely the one I'm recording with as it cuts through the mix well and every sound guy knows just to do with it. I've got a custom Jazz, ordered to my specs, that's a 5 string model and automatically used for any cover bands I gig with, that's been with me for decades and carries huge nostalgia points. And likely isn't worth a fraction of what I payed for it. And finally I was stupid enough to buy a Limelight Jazz because it looked cool and I figured I'd sell it afterwards, that happened to be just about the best sounding Jazz I've ever played, something my bandmates tend to agree with. Worst of all, I feel remorse after selling any half-decent instrument and would likely buy back a lot of the ones I've sold over the years if I wasn't already sitting on four basses stacked in my study and thinking what an overkill it is.
  11. And does wonders for your finger strength.
  12. This is why I'm buying .208'' roundwounds and paying a fortune to have them turned into flatwounds. Remember: if anyone can tell which note you're playing - you're doing it wrong! 😁
  13. Having tried many of those strings myself, the most worrying part is that judging from the sound clips he tested brand new flatwound strings, which for me, with some variation, tend to be some of the most foul sounding strings on the market What's 760FX like? Both heavy and normal La Bella sets have a dead E string on my basses. All thump, no tone.
  14. Sometimes you are not able or not willing to adapt, which is understandable, as long as your personal preferences don't color the review. Other times, there's a mismatch between strings and one's desires, gear, music style, etc. For example, I tend to change my strings on each bass I currently own to see what they're like. So currently on my four basses TI... : 1. sounds terrible. a dark, dead and boomy sound without definition or power 2. sounds pretty but too soft and mellow, the bass is just not aggressive enough to match that string well 3. sounds wonderful. a full bodied sound with deep lows and singing highs that easily cuts through the mix. musical in every sense of the word 4. it emphasizes both the qualities of the bass and the "faults" as well, so the sound is very unique and probably a love it or hate it situation since it's good and bad at the same time
  15. Oh, wow. We need more comparisons like these! I only read the Thomastik entry and I don't think I could disagree more... haha "At the first impression the strings cut easily into the fingers of the gripping hand because they are just so thin." - this is exceptionally bad technique. only really high tension thin strings can demand getting your fingers up to shape "They also sound quite "clanky", i.e. they rattle comparatively quickly if you are used to handling stronger strings." - only if you have no capability of adjustment. I have TI on one bass and La Bella 1954 set on the other, no issues. "All in all, they sound very well coordinated and balanced, but also a little "meatless" to my ears." - I'm not sure what meatless is, but TI is the fullest flat I've tried to date. It's not aggressive and has no thump, but fills out the middle frequencies with a strong fundamental so you can actually hear notes instead of a whole lot of undefined power (which is fine too) "They simply sound too thin for plectrum playing and are therefore less suitable." - I found them by far the best flatwound string for pick playing. I usually play most of my flats finger style as they trade thump for presence and pick just needlessly robs them of that thump. Not so with TI flats, if anything they're better with a pick as seen here:
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