Boodang

The only bridge I've seen that actually has made a difference on an oscilloscope... a Ray Ross saddle-less. It's a weird bridge... any body got one?

According to the blurb from (some) bridge manufacturers, the key element in transferring string vibrations, regardless of the mass involved, is the amount of contact the saddle has with the base of the bridge, thus, 2 grub screws are quite inefficient at doing this. Having a saddle that sits flush is apparently much better but the engineering solution so that this can happen whilst still being height adjustable has to be quite elegant. KSM and Babicz more or less manage this, but that's why they are expensive.

There is an arguement for low mass bridges! But to be honest the only difference I've found with either is that after market bridges like KSM etc are just better engineered than a standard one.

Well, an update after a couple of weeks of playing... they've needed tuning up every day (how stretchy are these strings!), but they stay stable for a whole session. I've given them plenty of abuse, picking, slapping (yes, even on a fretless!) and they've shown no signs of the delicacy mentioned on the packet. So, these are now my fav strings... great sound and feel, especially on the fretless.

Not so much to replace the guitar but more to create a bigger sound, I use an octaver and, instead of a chorus, a phaser for the more rhythmic parts. For more radical sounds i use a EHX mono synth pedal. Really big sounds and some of them you can tame for normal use.

At least you don't have to change DB strings that often! I still think there should be a campaign to make sure EUBs are made with proper tuners.

This is what double bass machine heads should look like! I'm using Pirastro Obligato medium tension (30kg for the E) strings. The E string is 3mm in diameter. The schaller machine head tuning shaft is 7.5mm in diameter and about 12mm in length. A DB machine head is at least 10mm in diameter and approx 25mm in length. Consequence of which is that on the NS CR the strings are squeezed onto the tuning shafts and only just fit. In fact to get the E string on I had to use the 'A' string tuner in order to accommodate enough of the silk winding, and use the 'E' tuner for the A string. No problem with stability, just space on the tuning shaft. In short, EUBs shouldn't have bass guitar sized tuners on them like the NS does.

Just thought I'd post this as A. it was good value for money B. it was excellent service & C. I couldn't believe the options they offered. I bought a second hand Bright Onion loop switcher (from a BC'er), was so useful I thought I'd buy a second one new. They have some great pedals but also they'll customise the paint job and led colours for very little extra. So... The boring one; The pimped one;

Definitely... we're the glue between the rhythm and melody. Generally speaking guitar players make bad bassists and the reason they won't notice a bad drummer.

I've had an NS Design CR4 since they first came out. It's a great bass but doesn't sound like a acoustic upright. The latest Yamaha gets close but is v expensive. The NS is a good starting place to get into upright playing and the fingerboard dots really help. To help with the EQ I use a TC Electronic Bodyrez which is designed to put life back into piezo pickup instruments. The strings that came with it new, were very light and it was well worth changing for a heavier set, especially for bowing. Mysteriously they've put bass guitar tuners on it which really are too small for the job, but I wouldn't fret(!) about that and it's certainly not a deal breaker.

Designacable defo.. go to them direct. PS good quality + not expensive = you'll be lucky! Design a cable are good value though.

I can vouch for the Blower Box. Just sold one of mine, light to heavy overdrive, can get very gnarly, has separate treble and bass eq and does have loads of balls if you push the bass.

I've got a custom finish T65 for sale if you're interested? Not quite a T47 but close....ish.

There's a custom grand tarkin for sale over in effects.

... oh, and something I found useful when initially getting to grips with the intonation on my new lined fretless was to put a clip on strobe tuner on the headstock to double check my technique. You still use your ears and don't rely on the tuner, but to initially fine tune my technique was really useful.

When I started playing bass many moons ago, I decided it would look cooler (!) on stage if I played fretless bass. So I went out and bought an unlined fretless bass and it was 20 years before I picked up a fretted bass (I've been playing bass for going on 40 years now). Something I have found over the years of playing fretless is that there is a period of time with each new fretless bass where you get familiar with the fingerboard and your fingering. I recently bought a lined fretless and it's taken a lot longer to get familiar with than my unlined basses (I don't consider lined to be cheating. If that was the case Jaco cheated! And what counts is the end result not how you get there). Anyway, tips; use your ears and concentrate on / practice your intonation technique (as in set aside some regular practice time for it) especially at the dusty end of the board. And, the best thing I've bought recently for practice purposes... an EHX Freeze. Great for playing along to chords, notes etc on the fly.

I bought an Aguilar Octamizer a few months ago and have been using it constantly. Has an organic tone which I love, the tilt eq is great and you can change the filter tone from smooth to something with a bit more edge. I also have a Cog T65 for full on synth style subs and use the built in in effects loop with a fuzz to dial it up a bit. A big sound but not very subtle!

Each toneprint radically changes the nature of a pedal... great fun. Out of interest, does the classic toneprint get close to the OC2 sound?

Have you tried the 'Classic' toneprint yet that does the old school monophonic thing?

Another variation!! Playing exercises that just concentrate on note learning can be boring, so quite good to combine it with something that has a musical element; Pick a note, now link all of them on the neck with a triad pattern. Try and make it musical, I find it helps if I play this with a drum track. Do the above exercise but with a chord progression, so now you have a bar or two with one triad before having to move over to another (there's plenty of apps that you can use to create chord progressions to play over and a great way to practice). I find by doing this I also come up with new bass lines.

Love BVs pick playing, such groove! What finally convinced me to nail the technique and now it's 50% of my playing.

Another method! Slightly more complicated but works a treat once you get your head around it; Start at C. Play a major triad. Now go around the circle of 5ths, doesn't matter which direction, and play a major triad each time. Say the root note each time you play it. Do it again with minor triads. Work out variations in how to play the triad patterns in different positions and do them. Use a click track. Now you not only know the notes on the fretboard but also associated triads.

Many years ago, my first proper lessons were with Joe Hubbard. He had a warm up exercise which doubled for learning the fretboard; Play all the E's - start with lowest, play them all on the E string then the A string then the D string etc until you get to the highest, then go back down from highest to lowest. You should now have played every E on the neck. Do the same for F, F#, G, G# etc. Say the notes as you play them and when it's, for example, G#, say G# going up and Ab on the way down. If you can use a metronome/ click start at a speed where you don't make mistakes then build it up.