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Everything posted by Ajoten

  1. I don't play sitting much, but also simply hadn't noticed the potential danger till now. Current: Hagstrom Viking experiment:
  2. Which is precisely why I'm asking actually 🙃 . Have a sitting gig and need to avoid sharp wrist angle... but also can't be holding arm out without resting somewhere or it'll put a static load on shoulder etc. Options to try: 1. Explorer style to rest arm higher (pics of Entwistle suggests could work) 2. 335 style semi with large body for same reason (have tried this, it deffo helps) 3. Steinberger. Which might work, or elbow might drop even lower and be worse! 4. Try and play with wtvr on left leg, classical guitary, but gig gonna be stressful and don't want new techniques to occupy headspace too. Also not as fun as buying new bass. So that's 3 potential forum threads haha. I'm starting with #3.
  3. (Steinies of the proper bodyless type) When you play sat down (fingers not pick) where do you rest your forearm? Or do get enough support just from thumb anchoring on string/pickup?
  4. Aargh! Waiting for the chancellor here to be in a better mood so I can give serious consideration to this...
  5. Hmm. So you think a setup is all it'll take to stop this slapping against frets (attached vid... first half is my normal, 2nd me playing near bridge for less string movement, where it's ok ish 20220527_171236.mp4 )? Handy if so!
  6. Not sure how a set up will help. This isn't a rattle due to neck relief. This is me hitting the strings quite hard arguably more down than up.
  7. No coz I assumed getting strings further away from fingerboard was the solution. As well as tougher strings meaning they'd move about less.
  8. Found myself having a bit of a sound crisis here. Put some tapewounds on my Ibanez 5 string, which I really like to play, for general feel to the touch as well as the low tension contributing to a nice low action. However clocked at rehearsal that that means they don't half clatter against the top frets. I've always had a little of this with rounds, but never particularly noticed other than thinking it was a bit Steve Harris. Anyway sounded really grim. More bad techniqueman blaming tools perhaps, but I put some Roto Jazz on, known for high tension, no truss rod tweak, and lo! it stops it happening. But not as lovely and easy to play, especially when the joy of SRs for me was gliding about etc. Of course NOW I'm thinking well, if I have to fight a bit, should reconsider swapping for more appropriate bass (and avoid heroics) as it might be less disappointing. Or just try and improve to get a bit more control. I can't actually work out how much of this is to justify looking at shiny new things to buy rather than a real problem 🙃
  9. I walked away from Denmark Street with a 1305 despite having a budget of x2 the price because it was the best 5 string bass in the street. Superb.
  10. I think it's brilliant. It makes me think of (cool) Charvel So-Cal Strats, conceptually, https://www.charvel.com/gear/shape/so-cal/style-1/pro-mod-so-cal-style-1-hh-fr/2966031599. I'd be all over it if I was in the market for an active bass. Sadly I'm not.
  11. That's kinda my point. Manifestly there's a HUGE market for fewer options. Millions of people go for (Fender and Squier) Precisions, possibly above all other options. Perhaps it's just too strong a brand to compete with.
  12. Starfires are NICE. And I hold my hands up, didn't know those Sandbergs came with just the volume/tone controls. I like the look of them a lot. (Coil split means too many options for me 🙂) But I'd still argue that (long scale!) mass market brands don't embrace the concept, and that that's strange. For example I don't understand why there's not a 1 pickup Ibz Talman or Yam BB competing with Fender Players etc.
  13. Sandberg is active I believe. No single pickup BB that I can see, PJ only. SUBs are active. OLP no longer available.
  14. I can't find any, apart from the Les Paul JR DC. Add the J at the bridge and options open up... although in my case I want as few knobs as possible coz ain't got bwain for EQ and tweaking. I'm not opposed to P-basses in the slightest, am just sure I'm missing something. Especially given the not-broken-don't-fix-it ubiquity of Precisions. It's almost like noone dare compete.
  15. AAARGH. If only I'd paid attention at school and got a decent job that paid money (and hadn't got married) blah blah blah.
  16. Fender I think was 19mm vs my v comfy Ibanez 16.5 at the bridge
  17. Would prefer a P bass myself but don't get on with string spacing on a 5er, and therefore have to take unfathomable active eq on the chin :-)
  18. Well... for me, I don't think I've EVER heard a recording where bass was too much, by anyone. Please recommend examples! You are right though re learning from it. And I think working 100% with the kit, and not try "melodic flourishes" (wtvr) will be better. Also I've just bought a beautiful fretless, and the lower that is in the mix the better 🙃 (Thing is of course, it all worked together nicely till guitar and vox went into the studio and recorded dozens of unexpected overdubs, thus diluting a lot of what I'd done and rendering it a bit daft tbh.)
  19. Thanks everyone, I very much appreciate your thoughts. Much better to get bass players' opinions on this matter, I don't trust guitarists...
  20. I have this crisis every year or so re wondering what the point is, playing bass, when always overlooked and undermixed etc. Or whether my expectations are a bit unreal. So tell me this: the band finished this album, but I almost threw in the towel when thought my er carefully crafted bassin' treated as - dunno - extension of drum kit? Few extra strings of a guitar? Instead of having equal billing with other instruments. https://soundcloud.app.goo.gl/fGTX1 Do YOU think the bass is loud/clear enough? And do YOU think it sounds similar volume/clarity vs other people's output these days*? (It is mastered btw). Coz rest of band thought on the verge of being too prominent tbh. So I on the verge of giving up. *My take? Everyone's bass unfairly nudged down in mixes. Always. With the exception of Esperanza Spalding, whose producers nail it.
  21. Oh, imagine being able to hear oneself clearly enough in a live situation to know that one's intonation is out! What joy!
  22. This is what I thought/expected, however my finger is thicker than the dot. The harmonics, for example, are directly above the dot, but this means that the "leading edge" of my finger has to be where the dot is. Not the middle of the finger. If that makes sense.
  23. I'm not quite sure of the best way of practising the fretless. I obviously as a beginner am looking at the dot markers on the (unlined) neck, but I need to be very careful with finger placement, as it needs to be just behind the dot rather than on it, as it one's finger edge that has to be in the right place. That's kinda fine as one has a basis for remembering. But if somebody advised you NOT to look at the neck, how on earth do you orient yourself? There are no clues, it all feels the same. Perhaps, as with fretted (for me anyway), you learn to play properly whilst looking and only when competent do you risk darkness...? Obviously people do learn to play violins and cellos etc. But I don't know if simply playing something correctly repeatedly is all muscle memory is, or whether I have to THINK about what I'm doing... whether associating a note with a visual clue of some sort, perhaps trying to remember the neck width for particular notes. Can you learn sitting down and nail it instantly stood up with heights and angles not quite in the same place? Not sure. Guidance welcome!
  24. Aha, just stumbled across this thread after cobbling together all the solo bass things I recorded while trapped in the house over the last 18 months... Nothing particular polished, but was an interesting exercise.
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