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Wylie

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    Vermont, USA

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  1. Thanks, MD, that's exactly what I did; or rather, I sanded the bottom side of the top piece of the bridge. Worked very well.
  2. Grandad, thanks to you and all who replied. I agree about the Hofner tone; it does sound distinctive and lively. About the scratch-plate: definitely without! I may go ahead with the Cavern model, keeping all advice here in mind.
  3. I owned a Contemporary Series "Club" bass and liked it a lot--except for the very high action. It wasn't a structural or neck problem, but required a substantial reduction of the bridge to bring the strings down. After that, no complaints; it was playable. However, I have read that high action is the norm on Hofner basses. (I have never played a German-made Hofner.) Has anyone found this to be the case, either with the German Hofners or their Contemporary Series basses? Thanks. I need help. I am being tractor-beamed in the direction of a Cavern-style violin bass . . .
  4. Two gigs on Saturday, the first a farmer's market in a college town (Williamstown, Mass.) where I got to watch our violinist's crap pickup fall off of his instrument several times, to the accompaniment of strenuous cursing. We are a 3-piece jazz (mostly) outfit with bass and keyboards supporting the violin when it is actually being played. The market is a high-end affair. I paid $4 for a bagel with cream cheese. We hit our stride halfway through and had people cheering and little girls dancing. In the afternoon, we played an arts and crafts exposition in a huge former mill building. Lots of people, good PA, artisan beers ($$$), and a small group sitting in front of the low stage who actually seemed to enjoy what we were playing. Both were paying gigs; no complaints.
  5. If you play that tune in Bb, you get a whole different sound.
  6. "Oliver's Army" with Bruce Thomas on bass. Amazingly strong and melodic bass lines.
  7. I think this is a good solution, among others. For my trio, the most important thing for what we play--mainly jazz standards--is practicing often enough that we really get the tunes down, not for the sake of perfection, but to get to the point where we can LISTEN to one another. That's when the music really happens.
  8. A reviewer on Sweetwater commented on the VariTone impedance switch. I can't personally comment because I've never played one, but here's what the man said: Lots of misinformation everywhere about this switch and what it does. The impedance switch on the Casady is NOT a VariTone circuit. A real VariTone has selective frequency cuts and shifts your tone tremendously. The Casady impedance switch has NO change to your tone while it allows you to pick three radically different volume levels for the same tone with no loss of highs or detail or tone. Compare that with regular volume controls which typically kill your tone when you turn down. This switch does NOT kill tone. You can set the low volume (50) to match your stage amp for a clean tone and then use the two louder settings for more punch for solos. Or you can set the loudest setting as your "normal sound" and dial it back WITH NO LOSS OF TONE by using the lower switch positions. Your choice. This bass, in other words, has a tremendous dynamic range! Set it up with favorite strings and get your best bass sound---then use that tone at ALL different volume levels. Louder for solos and less for background backup. The bass by itself has a distinctive classy tone and this switch allows you to do the most possible with dynamic attack!!! Just like Jack. And the fact that all this control is at your fingertips means you can get sounds normally only possible in the studio---but LIVE through your amp on stage! I hope this helps. W.
  9. Pretty badly. Coffee shop: espresso machine screaming, front door open to intense traffic noise (and now that spring is here, many incredibly loud Harleys) and my own lack of concentration. It is hard to play with so many distractions. I know it can be done, but I'm not there yet! W.
  10. I have a Japan Geddy too. At first I took off the pick guard to get at the truss rod, then discovered I could make the adjustment, pick guard on, using a smaller sized bent Phillips. Regarding another note below, I also find the neck is temperature sensitive; I have to adjust it two or three times a year, but I still keep our music room humidified all winter. Love this bass.
  11. Thanks to one and all for your thoughts and suggestions. Wylie.
  12. Yeah--that asymmetrical body. Thanks!
  13. My main worry was that its standing not quite upright was having a negative effect on the neck--nudging it out of whack a bit. Thanks, Cato and Delber.
  14. I practice a good deal and I never put the bass back in its case. Is there anything wrong with this? The room is humidified sufficiently, there are no children or other pets running around, and it sits out of traffic. Still, I wonder--after once again adjusting the truss rod a bit--whether I need to think again. Opinions welcomed. Thanks.
  15. +1 About practice, the point is to do it whether you want to practice or not. Having to 'want to' practice may just make you feel worse. Practice in a focused way for 20 minutes, no noodling, then take ten minutes off; then come back and go another twenty. Then put the bass away, and importantly, put it out of your mind till the next practice. This kind of focus should ensure that depression doesn't run things--you do.
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