Musicman666

well of course you can always remove or reinstall training wheels but fretlines are permanent .. I think of them more like the diagram on top of a gear stick, essential at first but once you get the hang of it then not so much, however its good to know that they are there to fall back on when required. I have heard some reasons to not want fretlines such as they put some people off or others like the look of a plain board, but I suspect some just like to flex in front of an audience. If you want that no fretlines experience then you can always turn off the lights, ..so far I never felt the urge. Fretlines look pretty much like frets to me and I'm very comfortable with that particular look.

i have a jazz fretless with the dead spot in the same area as the op and i also got rid of it with the fat finger ..not sure if it moved to another location but dammed if i can find it.

apparently the inspiration came to ernie while sitting on the khazi.

well taking the logic to its ultimate conclusion wouldn't that be all we really need regardless of fretless or fretted ..just the dots along the leading edge, everything else would presumably be decorative fluff?

looks like a runt.

..everyone goes on about fret lines on a fretless and how superfluous they are ..but nothing about fingerboard dots and led lights on a regular fretted ..go figure.

spock wants his intergalactic love harp back..

how do they compare unplugged?

i wonder how the graphite would compare to the wood if they had the same preamp?

my stingray plays like butter but without the dead spots ..do you think it might be fake?

i'm not quite sure what your point is here mate ... i posted in response to the op who plays long scale but was asking about shortscale and i merely responded by saying you can try it out without buying one ... i own a shortscale too, im not against using them if that's what your hinting at.

yeah when playing a long scale at the second fret all i can think about is how wide the neck is and how much the headstock sticks out with this huge bulky body..🙄

depends what your playing ..say for instance my status headless lends itself very nicely and any jazz bass works great in terms of neck width ...nearly all my basses are d standard these days and capo them from time to time and they play great. I cut my teeth on a musicmaster so i know the pros and cons of shortscale ..so doing this for me is the best of both worlds. Also capo gives your bass a zero fret ...makes the action and playability really spot on. Long scale is balanced and not bulky ..it just has two more frets on the neck.

why not tune a bass down to standard d and throw a capo on the second fret ..instant shortscale .

.. naively I thought saying " don't get me wrong, i love the sounds he produces" would somehow protect from tool diehards .. evidently I was wrong.

for me it's justin chancellor .. don't get me wrong, i love the sounds he produces but i look at what he's playing and it doesn't seem to look all that challenging in contrast to his fan base which seem to think it is.

terrible news RIP Steve ..!! ...and RIP Karl Wallinger two of the best singer song writers gone in the space of a few days.

well my bass history is a series of regrets ..started off by selling a beautiful Olympic white musicmaster in the early 80s to get a squire first edition Olympic white precision ..then on to a westone thunder iii followed by a wal pro traded in for the stingray that i still have today ..but i would honestly welcome any of those ex basses back into my fold in a heartbeat. Was it love?..no it was necessity on account of me being a tad poor in my youth.

front block bass player side .. i think right at the back is 150 ish.

well i have been watching closely but totally open to having my mind changed on this. Not being a drummer yes he seem very able but so do many others in many other what people might consider less technical bands. Definitely think this is a sum of the parts type deal.

just watching some tool on yt ..quite impressive but what came out of this was a realisation that these guys are just normal guys not playing what i would say is outrageously difficult stuff ...but somehow through coordinated focus they rise above it all and produce something quite extraordinary ... so when on an interview justin seems to come across as a fairly regular guy ..well no surprises there. I was in fact going to go for a ticket at their upcoming london show till i saw the price ...300 quid a ticket ..jeez.

i have a few killer basses and some just stay in their cases unplayed for yonks ...then suddenly i will get one out and fall in love with it all over again not being able to put it down.

yep..in the late 90s i part exchanged a wal for a stingray thinking they are so cheap now that i can pick up another whenever ..boy did i get that one wrong.