Wylie

"Oliver's Army" with Bruce Thomas on bass. Amazingly strong and melodic bass lines.

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.

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.

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.

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.

Thanks to one and all for your thoughts and suggestions. Wylie.

Yeah--that asymmetrical body. Thanks!

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.

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.

+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.

Good going! Those are $950 here. Heavy bugger, though, innit?

Twenty minutes practicing, then ten off. At about twenty minutes, frustration starts to set in, so the break is good. Also, I need to have something specific to work on, no noodling around. If I see even a note's worth of improvement after twenty minutes, that's success.

Me neither! Interesting--about a month ago a handful of Laklands appeared on Sweetwater, similar model, priced about the same, and seemed to have sold within a day or two. I couldn't afford one, but the temptation was Painful.

Snarky Puppy.

I also liked my Contemporary Club bass, though ultimately I passed it on. The action was super high when I got it and needed a good deal of work to bring it down (far too high for a simple truss rod adjustment). It's a singular bass with a very definite feel and sound, and the floating bridge won't take a lot of rough playing without moving a bit. But for jazz, as ikay said, or similar musical genre, it can be great.

I use Rotosound flats and love 'em. The Monel Flatwounds are expensive, but a set lasts me a year.

Fleetwood Mac. Their later work, with Buckingham & Nicks, was sad compared to the early work.

My best, albeit small, purchase was the Electro-Harmonix headphone amp. I often practice in the a.m. when my wife is still sleeping. This amp does nothing but reproduce the sound of your bass. No hiss, no noise, no bells or whistles. Housed in a metal casing. Instrument cord in one end, headphones in the other. Operates for mucho hours on a 9-volt battery. About $45 on this side of the pond. Made in Brooklyn.

The guitar I just bought myself: Les Paul Custom Pro. Unbeatable price. Ho ho ho!

Not much, sorry to say. The owner often has loud radio going (Rush Limbaugh) and his large dog greets you with barking and then wants to nuzzle your privates. If you want to try a guitar, okay--but you can't use a pick. It's discouraging, almost as if he doesn't want to be bothered with business.

Much appreciated--thanks Dave.

Also, I'd love to read a review of this bass. Thanks! W.

Who makes the replacement bridge?

I agree. I think it was Mick Jagger who replied, when asked when the Stones would 'act their age' and retire, 'Has anyone asked Muddy Waters that?'

Yes. I had one. I kept my bass permanantely in it. I went into the room to fing my bass on the floor. The yoke had snapped clean off for no apparent reason. I may just have had a dodgy one though. I use On Stage stands, never had a problem. Solidly made, not expensive.