risingson

I've owned both but I've kept my P-basses. I love Stingrays but they do leave a less versatile tone print on stuff, whereas P-Basses are easy to sit just about anywhere.

I have small hands but I've never had a problem… in any way But seriously it's no excuse! Pivot from your left hand thumb on your bass neck so jumping around on your neck isn't a problem, I see plenty of bass players jumping about when fretting and things are so much easier when you limit the travel in your left hand. You should never feel a real strain playing bass even if you have the smallest of hands, if you do then it's worth consulting a good teacher to assess your technique.

All the Steves, Steve Jordan, Steve Ferrone, Steve Gadd.

If you like the tonal characteristics of a Stingray but want the slimmer neck then check out the EBMM Sterling.

[quote name='leftyhook' timestamp='1387204294' post='2309271'] I am amazed at how few Warwick basses are seen being used by pro's in the spotlight. OK same could be said of Wal basses, but Warwicks are produced in many more numbers. Good basses too. Fender still wears the crown I guess.. [/quote] Aesthetics and price are probably the answer to this. Warwicks just ain't fashionable right now!

Oh and if you haven't checked out Derrick Hodge with Robert Glasper then do that as well!

Don't know if this guy's working yet but he seems to be something of a prodigy musician, I stumbled across him a while back. Actually phenomenal bass playing http://www.youtube.com/watch?v=DMFZktICGw4

[quote name='bassman7755' timestamp='1387021381' post='2307470'] Even if you discount everything else shes ever done (which I dont BTW) , playing on what is quite possible the best pop song of all time deserves a bit of respect. [/quote] Carol Kaye isn't credited with playing on Good Vibrations, it was another guy called Ray Pohlman who played electric bass and double bass as well on earlier Brian Wilson stuff as well as some other stuff later on before Kaye took over. I can well believe this because unlike the whole Jamerson/Kaye thing where it's very obvious who played those Motown bass parts, it's less obvious probably even for the studio musicians to remember who ended up doing which cut in the studio because likely it was done with a few different people. Carol Kaye still claims the song though even though she's not credited.

I'm glad you post up so much music BB5, I see a some people on this forum using OT all the time but never talking music really, and it's the thing that we all have in common so don't ever stop posting cool tracks. Anyway… like the tune but I love the Massive Attack sample http://www.youtube.com/watch?v=PKtTmZnVhhI

Oooff! Yes, beautiful! I've not seen many of the Skylines in this colour scheme. Very nice.

[quote name='xilddx' timestamp='1386891456' post='2306240'] What is SOUL in this context? And why do you believe it lacks it? [/quote] It's personal and probably not entirely tangible and not something everyone will agree on. I can put on Hendrix's Little Wing and feel like the guy can really just sing through his guitar, or like his guitar is a natural extension of him. I can't buy into that with Yngwie because it always sounds like he's worked too hard at being the best without ever having paid attention to making or writing a good tune. To me he's made guitar no fun. I'm totally speaking for myself here of course.

[quote name='xilddx' timestamp='1386872516' post='2305815'] Are you able to explain why you think it's bollocks? [/quote] Not speaking for the person quoted and don't know if I'd describe it as bollocks, there's bits of stuff I kind of like but players like him always seem to have learnt their theory to the Nth degree and then applied it so stagnantly and without musicality. It's almost like they've made music a depressing chore or a science. I can't enjoy music that sounds like it lacks soul and for me personally, it lacks soul. [quote name='peteb' timestamp='1386883294' post='2306060'] Astoundingly brilliant guitar player – it’s easy to get blinded by the speed and technique but profoundly musical as well. [b]Unfortunately he can’t write a song to save his life![/b] [/quote] That's kind of the clincher for me.

Personally don't like TI flats but I know that so many people do, so if you're keen on them then I'm sure you'll like them on your Jazz. My new '74 came strung with flat wounds when I got it last week, even though I took them off and replaced them with rounds the flats did sound really nice. I'd recommend checking out the La Bella 760FL's if you haven't played them already. Hard to see myself using anything else on my P-Bass in the near future and they would sound awesome on a Jazz - although the increase in tension might take a little getting used to if you've been playing TI's all this time! For me my Jazz basses will always be strung with nickel rounds. Steels are way too bright for me and nickels lend something really special to a good Jazz basses sound.

Absolutely love her bass lines, she and Joe Osborn had that incredible sound that had everything to do with that West Coast sound of the time. Her playing on Pet Sounds is amazing, if mostly the brainwork of Brain Wilson, but still perfectly executed. Her stuff with Glenn Campbell, Lalo Schifrin, David Axelrod is all sheer quality.

[quote name='BigRedX' timestamp='1386677431' post='2302901'] There's no denying that Jeff Lynne did very well with taking a single idea from Roy Wood and spinning it out successfully for as long as he did, but listening to the Wizzard albums it is obvious (IMO at least) that Roy Wood was the one with the more interesting music overall. [/quote] I think that last part is entirely subjective. Lynne's arranging abilities brought him closer to the likes of someone like Brian Wilson in terms of an unreal talent, and I don't think it's obvious at all that Roy Wood's music was more interesting. It does major disservice to Jeff Lynne who was responsible for writing some excellent music.

Did a gig last night and could have kicked myself after. Wasn't feeling it at all, didn't feel like I was playing at full capacity. It definitely happens to everyone!

I'm happy with my playing most of the time mate, there will be times when I feel frustrated or like I've got bass player's equivalent of writer's block but every musician on the planet must feel like that from time to time. There are aspects of my playing that I'd like to improve on but I'd be happy if I could stay this level and get no better if you know what I mean. You don't have anything to worry about though, surely! From an outsider's point of view you're a great reader and play with feel feel and dynamics, which are what counts when it comes to being a great bassist.

[quote name='bassgurumonster' timestamp='1386343627' post='2299068'] After trying one, ive ordered the rh750 and 2x12 cab. If i need another cab i notice there are a few on feebay. !!! Should be here monday. [/quote] Great setup! The same as myself. I doubt you'll need another cab, it shifts an incredible amount. My volume is never past 10 o'clock otherwise people's ears would start to bleed!

[quote name='xilddx' timestamp='1386065205' post='2295108'] It sounds very nice indeed. What gauge strings is Pino using? They look very light. [/quote] Thomastik flatwounds on his '62 P which are crazy light. Not a fan personally but Pino manages to make them sound great as always! The song is boring for me. All the best players in one room with no decent material to work off is what it comes off sounding like.

Great book that.

My dad reliably informed me this evening that he'd owned a 'white Fender' bass guitar back in the 70's. The first time he's ever told me about it what with him being a drummer back then, apparently he sold it to a friend of his. It's not the first time that hindsight is a wonderful thing for him, he also sold a Sex Pistol's first edition copy of Never Mind the Bollocks to another friend which is worth god knows how much today! Here's another quick pic minus the ashtrays. Interesting marking by the bridge, not sure what could have caused it - maybe some of the bigger Fender nuts might be able to shine some light on this? It's unusual and adds to the quirkiness of the instrument. I do really like it

Aye, came today in the post http://basschat.co.uk/topic/224011-new-bass-74-jazz/

Love that bass. Just got my 1974 Jazz but it was just so I could have one of both from the 70's, the P will probably remain my staple.

[quote name='Lozz196' timestamp='1386192597' post='2297132'] Nice one Liam, a 70s of each now then? [/quote] Yeh! Your P isn't going anywhere, I like it way too much. [quote name='gary mac' timestamp='1386195087' post='2297173'] As a pick player I find the covers are a real pain. [/quote] They've come straight off Gary! Tust looks a lot prettier with them on. Totally impractical for me too, I palm mute so much.

I've wanted an early 70's Jazz for a while, I'd long-term borrowed my mate's '71, still one of my all time favourite bass guitars hands down, but it didn't feel like 'mine', so I jumped on this one when I saw it for sale. It's a four-bolt, with the pots dating early '74 (7405) and the neck plate indicating the same year of manufacture. It came strung with flats, I love the sound and I like doing the best impression of Joe Osborn I can with a pick, but I figured that a nice fresh set of D'Addarios would work better for me. Taken me about an hour to sort out the setup but this thing sounds fat! Solid, growling jazz bass tones. The pic doesn't really do the colour much justice, it's actually a darker more chocolate style burst that I've not seen much of in Fenders of this age. Bloody made up I am! Here's a quick pic