risingson

[quote name='bubinga5' post='1207816' date='Apr 22 2011, 02:50 AM']is it better Ris?[/quote] Not better but brilliant basses and if you can pick one up for second hand then you'd be winning. The JO5's I've tried sounded a little darker on that low B than the 4's, although just to my ears and they were still great basses so whatever you with you'll be pleased with. Lakland are flat out great!

The Darryl Jones 5

I've been paying the full whack of £10 and will continue to do so because the service they offer is so very, very good. I can make playlists and play them offline on my iPhone, and it's completely eliminated the need to use iTunes, which isn't nearly as well laid out.

Unbelievably great band and a really sad loss too, especially sad when you consider that bands like TV On the Radio are pushing the envelope of music in a world where talentless artists are increasingly celebrated by the mass media. We need more need more bands like these guys, and this is really sad.

[quote name='skej21' post='1205276' date='Apr 19 2011, 10:04 PM']I think this is an interesting view on what should be the 'norm' with basses; “Why is four [strings] the standard and not six? As the lowest-pitched member of the guitar family, the instrument should have had six strings from the beginning. The only reason it had four was because Leo Fender was thinking in application terms of an upright bass, but he built it along guitar lines because that was his training. The logical conception for the bass guitar encompasses six strings.” Anthony Jackson[/quote] I love Anthony Jackson, he's one of the few bass players who can play a six string and almost make me want to buy one. Trouble is though he sounded just as good on a 4 string.

I use a rockstand and my jazz sits a little wonky but usually it's alright. It's bit more difficult with my Lakland DJ, but again not too bad.

[quote name='Bilbo' post='1204925' date='Apr 19 2011, 04:47 PM']Nor do I, as an absolute, but I do believe that those who do read and learn theory have a stronger work ethic and are good role models. So I advocate accordingly.[/quote] Total rubbish. In fact I would further argue that an attitude like this one is much more unprofessional and damaging than someone who is unable to read. I'm happy enough to play with guys that can read and guys that can't, as long as they can a.) play and b.) don't have a view like this one. I've met a lot of sh*t hot readers who have had similar attitudes and to be honest it's the worst kind of snobbery, to the point where I can't stand to work with them.

[quote name='Gust0o' post='1204206' date='Apr 18 2011, 09:59 PM']That's what I'd like to think; and why threads like this inspire such ire in me. Why is it that I can't simply pick the damn thing up, find my own way with it, and just enjoy it. Oh, but no - you need to learn to read; you need this technique; this piece of kit... eeeeeey by gum. Sometimes. Pfffff! I'm off for a cuppa. Anyone else take sugar?[/quote] Coffee please, don't do tea. What happened to your other avatar Gust0o?? I loved that animated monster, it was the best on the site!

[quote name='stingrayPete1977' post='1204181' date='Apr 18 2011, 09:42 PM']Most of ain't Pino and most of his contemporarys will of earnt a living and funded solo projects from reading gigs. Not that it makes any difference if you want to learn tracks at weekly practice and store them by memory only.[/quote] I was really just trying to explain that there are a plethora of bass players out there that have various differing levels of theoretical knowledge and have still done completely fine for themselves. I happen to think theory is important and a basic knowledge of it is incredibly helpful, however reading has its place and is a rarity for most bass players to stumble across, usually if they do they are the kinds of players who are actively involved in jazz, television and big band work and are well equipped for such events. [quote]Well, this thread summarises why there's quite often f***-all fun to had playing bass.[/quote] Bass is fun! A hell of a lot of fun, no one has to listen to another person tell you what you should and shouldn't be doing and vice versa. There will always be those who think they know better but there's nothing more satisfying than being happy with the musician you are, whether you can read or not and whether you think it's important or not. Music is about feeling, I'd much prefer to feel music than think too hard about how it works.

I've been reading this thread with interest, and once again it's polarising opinions. [quote name='stingrayPete1977' post='1204147' date='Apr 18 2011, 09:05 PM']There is always a stigma with reading (I have been on both sides of this). In most hobbies people want to replicate the pro's in every way that is practical as it's clear these people know what they are doing yet this issue always creates an us and them battle.[/quote] It depends what your definition of 'pro' is. Pino Palladino for example is probably the world's most desirable bass player right now across the broadest of spectrums, and yet his lack or theoretical knowledge is well documented, which leads me on to my main point... if you're a musician with talent, then the basis of that talent is being good at expressing yourself on your instrument, whether you have a piece of music in front of you or not. Whether or not learning to read music is a beneficial thing for you to do is purely down to a musician's present circumstance and/or desire to learn. Theory is being practiced by everyone who is even vaguely competent on their instrument, usually without their knowledge. Even if they are simply playing root notes and basic pentatonic riffs then the foundations of theory are simply being translated by the player onto the instrument without the means of being able to explain what you're playing and why you're playing it. It's like being able to speak a language fluently but having no idea how to write it down.

[quote name='SteveK' post='1201764' date='Apr 16 2011, 12:46 PM']Don't want to come across as the party pooper here, but surely, the biggest compliment is the[i] roar of approval/clapping of hands[/i] between songs and the end of the set. I know this is supposed to be a light-hearted thread and we all like to be complimented, but these compliments usually come from small talk where the punter is perhaps struggling for something to say. Nice to hear nonetheless, just trying to put it in context.[/quote] Absolutely. It doesn't bother me whether anyone cares about how I've played personally, I get the biggest pleasure from having an incredible crowd that are responsive to the music that I love playing. I very rarely get compliments about my bass work, and whilst it's occasionally nice to have a comment about how well I played, I'd much prefer that people had enjoyed our music, it's a great thing to hear.

I got told once that I played like John Deacon, which I was particularly happy about, but in fairness we were playing a Queen tune at the time I was told the other night that I was a great bass player and that the bass tone from me was the best tone he'd ever heard by three people including the sound guy no less... which was just great! Anyway, my head is now several sizes too big

I like her music a lot, always have... I'd be keen to listen to her new album when it comes out, it's rammed full of amazing guest appearances.

BSSM is one of the best albums of all time, I love it.

[quote name='peteb' post='1197566' date='Apr 12 2011, 11:04 PM']+1 There is a lot of interest in this on here as a lot of people have dealt with Mark and he is well liked and respected. I’ve never met the OP but I have dealt with Mark and have no doubt that he wouldn’t try to con anyone. As I see it he checked the serial number to date the bass and had got some confirmation from someone who has some knowledge of Fender. This is pretty much what I would have done given that it’s an 83 p-bass that sold for £700 and not a pre CBS worth £5k.[/quote] The seller still has an obligation to disclose accurate information about a bass no matter what the price tag. I wouldn't care if I was buying a Squier or a Sadowsky, I'd want to be safe in knowing that the bass I was buying was indeed what the store says it is, it really is the least you can ask from a store specialising in bass guitars. I'm sure the guy is lovely to deal with, but it doesn't change the fact that a glaring mistake has been made here. What's more if he'd had the bass screened by someone who knew what they were talking about then this problem may not have arisen in the first place.

[quote name='Beedster' post='1197416' date='Apr 12 2011, 10:03 PM']Furthermore, many retailers provide no evidence other than "trust us, if we say it is, it is, we're experts". I won't mention names, but when I pushed a certain well-known vintage retailer to take the necks off two '64 Precisions, neither was a '64 (and no, it wasn't V&R, they were actually very cooperative and accurate in this respect).[/quote] ...which further goes to show that maybe it's time that whoever is assessing vintage Fenders for Bassdirect should probably be replaced by someone who actually knows what they're doing!

[quote name='poptart' post='1196830' date='Apr 12 2011, 02:13 PM']The bass in question was brought in to my shop by a very good customer who was looking to px the bass, I was unsure of its date so we checked the serial number on the headstock on the Fender website and got 1983, to confirm this I took the bass over to my guitar tech who has over 20 years experience with Fenders and as soon as he saw the instrument he immediately declared it an '83 as it has a very specific neck radius and fingerboard edge.[/quote] The serial is stamped on the headstock of the neck, which by the sounds of things is '83/'84 (I'm fairly certain there's a slight overlap with Fender serials claiming to be one year and actually being the next one, but I could be wrong and I'm no expert). I could have assessed this to be the case myself, it's not hard to check on the Fender site! It doesn't sound to me like the Fender bloke with the 20 years of experience has looked closely enough at the body. Unless the part about the body being 1997 is an outright lie then with the greatest of respect, I would strongly recommend you find yourself a more competent guitar tech to assess vintage gear because with the greatest of respect to the guy, if he was any good at what he did then he would have picked up on the body being a mismatch. Any old person could have typed in a serial number on the website and found out that the [b]neck[/b] was from 1983/4. I wouldn't like to assess the legality of the sale as I don't know anything about consumer rights but I would never consider purchasing a vintage Fender (something I'd like to do in the future) from a store that doesn't screen their stock properly. Like someone said... it's a bit of a no-brainer, I think you'd be wise to speak to Truckstop personally to see how the situation can be amended. I for one would certainly like to see the outcome of this to be a positive one for Alex.

The first time I ever played my Eden rig in the store I was kind of like 'so what'? It didn't sound particularly different to a lot of other amps and cab combos I'd tried that had underwhelmed me. An hour or so into trying it I was convinced it was the right setup for me and I love it now. I find it hard to demo an amp you intend to buy in a shop or anywhere else because the sound will vary so drastically from venue to venue anyway that it's incredibly hard to get a feel for what you like about the product in store. I personally am not too keen on Markbass stuff, but if I was playing live and it was provided as a backline rig for me on a date we weren't using our own stuff, I'd still be pretty happy. The biggest problem with Markbass stuff for me is the fact that they have way too much of a product line, and after a certain point most bass amps start sounding the same anyway . They really should condense their line.

6 grand for that? Warwick are out of their minds. Steve Bailey isn't even a particularly notable player, I think he's technically gifted but he's just being fired back and forth from endorsement to endorsement.

Wow, fairly insulting considering how long John Taylor has been using these particular basses, you think Peavey would at least have the decency to get his name right.

There's got to be a point where you can say that you're happy with what you've achieved, if you're forever pitting yourself against monster players then you'll develop some very sore fingers, a complex and probably carpel tunnel. No one makes me want to give up, only want to learn more and play more

[quote name='Gust0o' post='1192898' date='Apr 8 2011, 02:30 PM']Was this the natural one Badger had in the FS section? If so, good on you; I was gutted I couldn't raise any cash in time! Love the DJ: [/quote] That's really stunning Gust0o. I'm not usually a fan of the tort/black combo but it definitely works well with the maple/pearl block inlays, kind of rare to see it! And yes, it is the very same bass that Badger was selling. Top guy and a really nice bass... a bloody steal in fact!

[quote name='blamelouis' post='1192642' date='Apr 8 2011, 10:06 AM']Sounds great . I would love to have that finger sound , plenty of depth. Very under rated is DJ.[/quote] Cheers man. It's got great tone!