hubrad

[quote name='Old Horse Murphy' post='530237' date='Jul 2 2009, 08:56 AM']Lots of love for Overwaters here and I'm pretty sure that some of the guys from Overwater are actually Forum members. Hopefull you'll have all the feedback you need from Overwater owners as and when they log on![/quote] Oh yes, indeedy! Overwater Progress III fretless is just the finest thing I've ever played!

[quote name='jakesbass' post='521639' date='Jun 23 2009, 12:55 PM']Hey James, congrats on taking the plunge, given the short timescale you have I should suggest that you be expedient in what you try to achieve in the short time you have. The two most important factors for one in your position are, in my view, as follows: 1.Ensure that (with correct fingering ie 124) that you are being efficient in your left hand, use the natural weight in your arm to gently pull your fingers (which should be slightly curled into a sort of hook) against the fingerboard. This should allow you to avoid squeezing which is desperately inefficient and leads to tiredness. 2. you need to practise moving, retaining contact with the string (for intonation purposes) and learning to adjust your finger spread to account for the tiny reducing stop length as you go up the neck. This should become entirely unconcious over time. At this stage I can't stress enough how important it is that you take a few technical lessons, what I've described really should be shown and is very hard to put into text without some physical guidance to back it up. Having a knowledgeable teacher dance around you looking from every angle to see how your muscle movement can be minimised is really beneficial and can in the long run save some painful undoing of poor habits. GET A TEACHER NOW!!! DO IT...![/quote] +1 to all Jake's comments! Especially the teacher.. a decent one can help you avoid various problems and even injuries. If you're interected in bowing, a classical teacher (they bow almost all the time ) is a great idea on top of lessons in your main style. Also to all the comments on 'backing up the 4th finger with the 3rd'.. pretty much essential. Back up EB sounds like a decent plan to start with.. I'm sure they'd prefer you to keep playing on EB rather than have to retire half way through the 2nd set. Off the 'puter and onto the DB.. you need to get fit quick! Oh, and WELCOME ABOARD!!

If none of the above works (I like the last pic ) Beneath It All is selling some speakers, including a 15": [url="http://basschat.co.uk/index.php?showtopic=51697&hl=chassis+speaker"]http://basschat.co.uk/index.php?showtopic=...chassis+speaker[/url]

'Eyup, Unusual for Seymours to do this if you've used their wiring diagrams correctly, but nothing's impossible! You could wire a switch in to alter the phase of one of the pickups (I did that yonks back in an experimental time), that way you could drop to the thinner sound if you want it. Does it sound sort of 'scooped out'? that's the classic out of phase tone. If in doubt, consult a local repairer who does wiring.. should be just a case of reversing the hot and ground wires of one pickup. It may make the bass a little more noisy, but often barely so.

Welcome to BC, Manu! [quote name='BigBeefChief' post='528720' date='Jun 30 2009, 03:38 PM']Bonjour Manu, Je déteste le grand canard bleu parce que du pantalon noir. Je suis désolé que je suis en retard. Mettre les chaises sur la table.[/quote] Hey, BBC.. I think that's the nicest thing I've ever heard you say to anyone!

Clever looking stuff! Will follow the OC-2 developments. All the best with the new setup!

Putting flats on will give the closest approximation of a DB sound, if that's what you are after with fretless. Works quite nicely, and as you say it wears the board far less.

[quote name='bythesea' post='527124' date='Jun 28 2009, 09:48 PM']Would love to give that a go - my last band was trad Irish where I played acoustic guitar and bouzouki, with other members on fiddle, flute/whistles and bodhran. That was before I took up bass again though...[/quote] Have a listen to my Myspace stuff if you fancy.. I do folk or blues stuff most of the time. Just got my advance copy of Gina Le Faux's new album, on which I do bass duties. Chuffed to bits with the line up! Martin Simpson, Andy Cutting , Keith Angel and me, backing Gina. [url="http://www.ginalefaux.com/"]http://www.ginalefaux.com/[/url] is under reconstruction at the mo, but should be back up and running soon. Played DB in a folk club one time with Gina, and at the end of the gig the organiser came along and said "wonderful sound - you don't often hear those played with a bow"

Only in America! Actually, this seem like another argument for boom stands, as the angled boom would cause the force of falling onto it to be displaced, hence reducing the chance of serious injury.

Cheers for that Pablo. Interestingly, on the bit where it asks for your emeail address, my @ sign came out as a " sicn.. prob works on a different country's keyboard layout. If this happens to you, use shift and 2 keys to get the @ symbol.

[quote name='teej' post='526600' date='Jun 28 2009, 11:39 AM']I took my bass for a set-up this week and the luthier (Godfrey Shepherd in Lancing) showed me a bass he'd made - it had a very interesting bridge style that I've never seen before, a French technique apparently. Instead of resting in grooves cut into the top of the bridge, the strings were held in place by raised 'castellations' on the sloping side, a bit like stylised waves. I'm not sure if that's a clear enough description and I can't find any pics on the net, but if you can picture that, has anyone seen this anywhere, know anything about it?[/quote] Hi Teej, Do you mean something like a bass version of this: [attachment=27872:mandobridge.jpg] It's common on Gibson-style mandolins as an attempt to get the intonation a bit better. I would have thought it a bit pointless on DB, as each player gets used to making their own bass sound right. Or wrong when applicable .

You probably won't notice [u]that[/u] much difference in day-to-day operation for the more expensive sets, but the thing that make them really worthwhile, IMHO, is that in 20 years time (presumably the intention is that this bass will be a keeper) you'll most likely still not be noticing the difference, as opposed to putting yet another replacement cheap set of machines on. The shop where I work deals with Stentor, hence Schaller.. that bk/gold bridge shows as being a shade over £120.. I can check on Monday whether Stentor actualy have one in the country.

[quote name='Mr. Foxen' post='524234' date='Jun 25 2009, 11:09 PM']Friction and sealing. Hard to get a seal between moving parts without lots of friction, and you don't wanna be oiling your cab between songs.[/quote] Actually I like the theatrical image that springs to mind.. possibly install a non-functional oilway for a bit of visual humour between songs?

I have a live DVD of the Flecktones.. at one bit, the banjo the bass and a guest tabla player are trading licks. Mindblowing!

[quote name='thodrik' post='524085' date='Jun 25 2009, 08:18 PM']Oh, and buy/steal a decent bar stool. Sitting down when learning just allows a bit more stability. And have fun![/quote] Fun, yes! He's hooked.. top! Ikea do a good height folding stool for sitting practice. costs around £20 [quote name='fatgoogle' post='524292' date='Jun 25 2009, 11:34 PM']Oh ya that simandl book is very goos, my teacher got me to get it, its long winded and slow, but its great for learning and getting you used to music.[/quote] Great book; my classical teacher got me on the same one. I really like the way that each study is a tune in its own right rather than just an exercise.

Yup, not half bad.. I'm selling this Crafter 5 string: [url="http://basschat.co.uk/index.php?showtopic=48674"]http://basschat.co.uk/index.php?showtopic=48674[/url] The Ebonol is on what seems to be a nice maple neck, and I did a few gigs on it with quite the opposite of any complaints about tone. Bought it as a stopgap; filled the gap well and truly now! [url="http://basschat.co.uk/index.php?showtopic=44673"]http://basschat.co.uk/index.php?showtopic=44673[/url] and an Overwater fretless. Where are you in the country, Nostromo? You're welcome to a play on this if you're around the North, whether you want to buy it or not. I work close to the M62.

I used to use roundwound Elites steels, as they were the only thing I could find for 5-string headless.. [url="http://basschat.co.uk/index.php?showtopic=44673"]http://basschat.co.uk/index.php?showtopic=44673[/url] but now I mostly use flats - Picato made me a special set, so Ive got into their strings. If you use rounds and the board gets chewed, a decent repairer can skim the board.. the fretless equivalent of a fret dress.

I just spoke to my mate who has the hairdresser's shop in Fartown; he said it certainly was closed. Doesn't know if it opened back up so far. Could be worth that drive past, or else assume it's not there if you can't get hold of anyone.

[quote name='fatgoogle' post='523954' date='Jun 25 2009, 06:03 PM']Get a teacher, its the easiest wayi think of learning something. I dont have an EUB but i do Have a DB and well it uses alot of different muscles, and can be quite tiring.[/quote] +1.. DB has a bit of a reputation, because of the difference and extra physicality, for hurting players; train for it and you'll get lots of enjoyment from it. If you really fancy the occasional bit of bowing, take a few classical lessons as well - those folks do it almost exclusively, so you can get a real boost that way. Otherwise, think of it as a really long scale fretless the other way up! Welcome to the world of welcome.. people always seem pleased to see a Double.

[quote name='51m0n' post='523556' date='Jun 25 2009, 12:50 PM']To be honest its already starting to feel a bit sour Band leader dude has stated the bass tone must have no treble, no middle, there must never be slap blah blah blah blah. Just starting to feel the pinch that got me out of playing in bands all those years ago [/quote] [quote name='alexclaber' post='523579' date='Jun 25 2009, 01:08 PM']Be bad, sit back, mute lots and play it cool. And then tell them you'll let them know if they're good enough. Alex[/quote] +1 to Alex.. the band thing has to work for you as well as them. To an extent, you are auditioning them, too. If you're feeling fed up now, imagine a couple of years down the line and you're in a rattling van at 2am coming back from a distant gig! Half the thing of being in a band is the dynamic between the members - obviously that doesn't neccessarily appear at audition, but if the band leader is already giving you instructions then that will probably be the case in future. As long as you can deal with that it's not a problem (plenty of brill bands around which are Mr or Mrs.Songwriter Plus Supporting Musicians), but it sounds like you're more after the equal input type of dynamic. You sometimes find that you have to tweak your tone to fit in with a different set of players and instruments; listen to the whole context and see if you're fighting someone else for a particular frequency range - sounds like you have the gear to make a wide range of sounds, and it may actually be that somewhere between his decree and your current tone there lies the ideal sound for this line-up. Best of luck, hope it turns out enjoyable!

How about a new forum for Other Related Musical Personnel Wanted and Available? It strikes me there are quite a few multi-instrumentalists on here, plus most of us will know of other players.