Vibrating G String

If that's a stain underneath it may take a good deal of sanding to remove all the color.

[quote name='LukeFRC' post='1035773' date='Nov 24 2010, 03:38 PM']experiment with your amps eq[/quote] This bit of advice is the correct answer for almost all the questions that are dealt with by changing gear. And once you figure it out you realize you can play through all kinds of gear and get great tones from all of it.

To me that's an overdrive tone that you can get from any jazz with any kind of pickups. I don't see that as deep at all, more grindy mids.

People will say anything on the internet Here's Marcus' take [url="http://www.marcusmiller.com/faq.html?category=2&faqid=22&color=2"]http://www.marcusmiller.com/faq.html?categ...=22&color=2[/url] What modifications have you made to your Jazz Bass? I have a pre-amp installed in my Jazz - a Bartollini installed by Roger Sadowsky. Roger also installed a Bad-ass bridge. The rest of the bass is stock.

[quote name='Prime_BASS' post='1031055' date='Nov 20 2010, 04:24 PM']The necks the tricky part. I don't want a jazz, too small; and the P style necks I just don't along with. The ray version is what I want, and by the website the ray style neck should fit the neck pocket of a standard fender body, but it also says some gibberish about intonation. Anyway, my theory is the ray status neck would be fine on a a blank jazz body but I shouldn't drill the bridge down in the usual place. If that's right, where? Could I just take a measurement on my ray? Thanks guys.[/quote] The Stingray neck has 21 frets versus 20 on the Fender neck. This makes it roughly 14mm longer. The best way to install it would be to cut the neck pocket longer at which time you could shape it to the MM neck. If you used the normal Fender slot you'd have to move the bridge towards the neck about 14 mm and that will change the tone of the bass as if you've moved the pickups 14mm towards the bridge. It would also be more likely to have neck dive and look kind of silly. I would cut a new neck pocket to the MM shape and use the original bridge position.

Funny how often the Sadowsky pre is mentioned as being part of Marcus' sound as he plays a Bartolini. Sadowsky installed the preamp but I think only a few people can actually hear that

[quote name='BottomEndian' post='1027964' date='Nov 18 2010, 06:36 AM']I know nothing about them, but what about Status? Pricey, but possibly light given the graphite construction. 6ers available in the Stealth or the S-2, I believe.[/quote] My S2 CLassic, which I requested to be the lightest bass he ever made, weighed a good deal more than any other bass I've owned. A Peavey Axe-ellerator can be very light, cheap too.

Sherwood green, white pickguard, rosewood board and matching headstock. Like this but with a painted headstock. [url="http://www.sadowsky.com/stock/stock_images/nyc/lg/5374_full_lg.jpg"]http://www.sadowsky.com/stock/stock_images...374_full_lg.jpg[/url] I actually like all 5 in the original post.

Hohner Jack Bass

[quote name='Rich' post='1026877' date='Nov 17 2010, 05:57 AM']I'm hoping my Wal Pro IIE will turn out to be a good investment. I paid £330 back in 1986, I think it might be worth a bit more than that by now [/quote] A straight up investment in the S&P 500 of £330 in 1986 would be valued somewhere around £4500 now (quick math loosely based on averages) I feel when considering something an investment you can't compare it to what you paid for it but but the performance of another investment you could have made instead. You'll often hear investment advice along the lines of invest in something you know, pick stocks of companies you deal with etc... I think you should never invest in things you can be emotionally involved with as it leads to bad financial decisions. That's how I see it.

[quote name='Crazykiwi' post='1022170' date='Nov 13 2010, 12:27 AM']Thats not what I meant. What I meant was its not possible to isolate the contribution of so many different elements.[/quote] That makes sense On a similar note, our eyes are our most precise sense, dig this optical illusion. [url="http://richardwiseman.wordpress.com/2009/06/23/possibly-the-best-optical-ilusion-i-have-seen-all-year/"]http://richardwiseman.wordpress.com/2009/0...-seen-all-year/[/url] We can't even tell the difference between green and blue looking right at it. To assume we can hear the effects of a coat of paint or a wood species over a tiny wire seems ridiculous by comparison.

[quote name='Crazykiwi' post='1022089' date='Nov 12 2010, 05:40 PM']Who can say how much the sound of a specific instrument is finish and how much is wood/electronics/hardware?[/quote] Any one with an internet connection and the ability to post online. I'm more interested in someone who can demonstrate their claims without requiring faith in their abilities though.

[quote name='Davo-London' post='1022082' date='Nov 12 2010, 05:09 PM']The vehemence of the "it can't make any difference" camp sounds like denial to me.[/quote] Who says it can't make any difference?

[quote name='Doctor J' post='1021296' date='Nov 12 2010, 04:38 AM']Silk Road vs something good, sure. Do you reckon you could hear the difference between two high quality cables though?[/quote] There's a million dollars waiting for the first person that can.

Over the years I've met hundreds of people and read thousands of posts from people who can look at a guitar and once they know what it's made from can go on and on about how their super human ears can tell things that are undetectable in lab instruments many times more sensitive than the human ear. I have never met a single person who can only listen to a guitar or bass and tell me what kind of wood is used or anything about he finish or metals used on it. Over the years I've met hundreds of people and read thousands of posts from people who think they are psychic or have supernatural powers... These claims are so often beyond ridiculous it's like people saying they can see molecules. Anyone care to listen to a clip and tell me what woods & finish are used?

[quote name='jakesbass' post='1020728' date='Nov 11 2010, 01:41 PM']but rhythm reading is to my mind the more challenging so I would advocate spending time on them separately and [i]then[/i] together.[/quote] When I was at BIT many many many years ago the first 6 months of the 12 month program on reading used no pitches, it was rhythm only. Just tapping with your hand or a stick trying to internalize all the possible rhythms. I like this approach and when I learn a tricky new piece from notation I tend to tap it out first and then come back for the notes.

And to answer the inevitable question who's Danny Wilson listen to the bass here. Jump to 1:00 if you want to get right into a solo.

Jeff played some old stuff to, from the Danny Wilson days. Randy Brecker and Eric Marienthal on brass, no Kenny G and Will Kennedy and Jimmy Haslip getting double pay as the rhythm section for both bands. After the show we got to talk to Jeff and asked him if he knew what happened to Danny Wilson and he had no clue.

I just saw Jeff Lorber Fusion and the Yellowjackets last Sunday so that's a big yes for me In general I'm a big fan of mixed styles.

[quote name='skankdelvar' post='1017110' date='Nov 8 2010, 06:06 PM']Did you know there were actually 5 different Betty's over the years, including Hattie Jacques and Joanna Lumley?[/quote] Huh, I never heard that. Did you know Joanna s a cousin to Robin Lumley of Brand X?

[quote name='peteb' post='1017016' date='Nov 8 2010, 03:03 PM']That's hardly the point - whether you like it or not Chris Suire has created memorable and influential music and sold million of records without making a great deal of compromise to do so! Jeff Berlin is known as a technician, appeared occasionally as a sidemen when the original artist was unavailable and appeared on niche jazz albums of questionable merit and some bleedin awful solo ones...![/quote] Chris is probably the reason I play bass, that and Burke Shelley but I digress... I'm a huge Yes fan and Fish out of Water is awesome so I'm with you on his talents. I was just making an observation on Jeff's incredible level of talent. Both have been my among my favorite players for many years.

[quote name='skej21' post='1015606' date='Nov 7 2010, 11:47 AM']Why is it theory VERSUS groove. Surely I'm not the only bassist on here that can do both, and at the same time? In fact, it's impossible to groove without theory and it's impossible to understand theory without being able to put it into practice. You have to at least understand SOME of the theory (even subconciously) behind how a bass works/how your fingers produce the sound in order to groove, so your argument is fundamentally flawed. This thread might as well be called "Trolling versus Sh**stirring, which one is best?"[/quote] I'd agree with that. When I see the words versus or best in a discussion on music I stereotype in a negative way. Does anyone know somebody who on the first time touching an instrument could groove strong? For most humanoids groove was learned and not divinely granted. Stopping your education at the most basic level of theory and just playing blues and rock is not playing without theory, it's just being really bad at it. Of course that is what the masses want so it's enough theory to be rich and famous.

I played 6 for a while before settling back to 5. The extended range and fingering choices are great so that's a pro, even more so on a 7. A con is that people will be startled by it and it's easy to get offended by hearing the same questions over again. A con with the low F# is some people, like myself, just can't hear it. You will be leaving the range of hearing for some of your audience. Are you familiar with Jauqo III X's Low C# theory? [url="http://www.jauqoiii-x.com/JK_pages/JK_lowc.html"]http://www.jauqoiii-x.com/JK_pages/JK_lowc.html[/url] He tried to play it for me on a high end stereo system and I just couldn't hear the low notes. He hears them fine and thought I was teasing him but it's past my hearing range Live it's got to be a nightmare, normal low B's can be almost unusable in many clubs and you will be making amping your bass much more difficult. But if you want it go for it. 30 years ago a low B was only for crazy people and now it's almost standard.

[quote name='icastle' post='1015373' date='Nov 7 2010, 07:58 AM']Yep. I can remember a few years ago there was actually a company selling spray on mud so that yuppies in London could get a "country cred" look on their 4x4's without having to leave the city...[/quote] That's pretty funny, and a rather close analogy too

[quote name='silddx' post='1015117' date='Nov 7 2010, 03:48 AM']That's a fair point. I think my being on here so often, and reading music magazines, means that when I think of THEORY, I think that means having a thorough grasp of THEORY and its application. So that, like a jazz improviser, they know exactly what they are playing and how it relates to the music they are playing over so it informs their note choices. I don't believe that knowing a few scales, some of the notes on the bass, some chord intervals and being able to recognise a perfect fourth, or a minor seventh interval constitutes a thorough grasp of theory and application, and that's the premise of my OP. Chris Squire is not Janek Gwizdala when it comes to theoretical knowledge and sight reading ability, that is very clear.[/quote] I think that's a better way to put it Jeff Berlin, theory master, was able to write out and perform Chris' parts with just a few days preparation. I would wager Chris would not be able to do the same for Jeff's parts on the Bruford albums.