Crawford13

In:

Alpher Mako Fretless, 

Darkglass Harmonic Booster,

Out:

Nothing,

Not sure what 2022 brings, possibly a new amp, and a 5 string...

47 minutes ago, thebrig said:

£1,550 for the American Professional II, and yes, it's a lot of money to some, but I'm 70 and retired, I'm not rolling in money but a nice proper Fender Precision with a Jazz neck would be my final purchase in the bass department.

 

But it won't be the American Professional II because of the neck.

It's fairly common for a 2nd hand CS with a Jazz neck to come up for around the £2k mark.

As has been mention the deluxe P might be worth trying, I have also heard the Nate Mendel Signature model has quite a slim neck @walshywould be the man to ask about that, I believe he has one for sale just now too.

2 minutes ago, Downunderwonder said:

 

 

Have you ever played a P Deluxe?

Does the P Deluxe not have a J pup in it? Which the OP doesn't want.

I did have a CS 62' P bass with a Jazz neck that was brilliant. Only sold it as it was always in it's case, as I preferred my Alpher.

Just now, Geek99 said:

For the dubious privilege of them

picking a neck off a different shelf ? They used to allow jazz bass profile necks to be ordered 

I'm just providing an honest and business orientated answer to the OP's question. The most likely reason he doesn't see what he is looking for is that Fender believe they already do this with their custom shop. 

Also to be fair if he is happy to spend nearly 2k on an American Professional II, it's not too big a jump to a non extravagant custom shop.

What you are talking about here is a custom shop. They will quite happily make you a P bass with a Jazz neck, and anything else you can think of. You just have to pay for the privilege of them making you exactly what you want as opposed to what they want to make in bulk.

I absolutely love Sean's playing, he is a total boss. 

He is killing it just now playing with John Mayer.

To quote Adam Neely "Please don't tell any lawyers about 12 bar blues"....

The world of music would be over.

2 hours ago, uk_lefty said:

I think this kind of documentary puts a new perspective on him and the others though. To me he comes out of this with a lot more credit.

I agree, but I also think that he is around to give creative input to the project, which could shed him in a better light.

That being said he is awesome.

The Trucks Tedeski band are touring the UK next year. I would absolutely love to see them, but it seems crazy to be buying tickets right now, given it seems gigs are likely to be cancelled.

7 minutes ago, musicbassman said:

Two old favourites that are excellent for moderate level pick practice - Footloose and Long Train Running

Footloose with a pick sounds like quite the challenge.

2 minutes ago, TheGreek said:

There seem to be loads of Yamaha 5ers around for around £300 - get one - loads of bass for not many pennies. Then you can keep this!!

This is also becoming more of a realistic option.

To be honest mate this one is most likely going to be withdrawn. I can do everything with the Drop D tuner, just got some big festival gigs this year and didn't want to have to trust myself using the d tuner mid song.

If there was interest in either or my 2 Makos I was going to buy the 5er they have in the workshop.

I just can't justify another high end bass, I have to move to a 1 in 1 out system.

What is crazy is they were all 29 or younger at this point, when putting this into context of how their lives had been for the several years leading up to this, no wonder they need a bit of guidance.

What operating system are you using?

Yup that would work. Bass & Vocal mic into the mixer, then mixer into the interface. On Skype use the interface as the sound source and output then run headphones from the interface.

Technically you wouldn't need a DAW.

https://www.practicalpatch.co.uk/

I know a fair few people talking very highly of this man.

Anyone know who Adele's Bass player is on the audience with tonight?

He has a great P bass tone, he is totally smashing it.

5 hours ago, Al Krow said:

Gobsmacked by just how much the bass player had clearly become the de facto creative director of this most successful song writing crew, and who the rest of the band looked to for leadership and direction.

I agree that the show definitely made it look like that. I wonder how much of that is really just footage selection. Paul & Ringo really come across as likeable people, John & George not so much.

8 minutes ago, Burns-bass said:

Fair enough. I guess you’d hope that the records (which I adore) are the best they can do. If you want to listen to 14 takes of Get Back that’s all good! 

That's certainly not what I took away from the first episode today.

Just now, Burns-bass said:

Why do we care? It’s 4 guys all approaching their 30s playing music. The heaps of meaning are layered on afterwards.

 

Watch the rooftop concert, enjoy the records and save yourself 7 hours…

Each to their own mate. I'm quite happy to spend 7 hours getting even a little bit of insight into the writing process of one of the most successful bands in history.

So having watched part 1, I can say I definitely enjoyed it. Don't want to post any spoliers on launch day, so I won't say any more.

On 16/11/2021 at 22:47, BassAdder27 said:

Finger style player who went over to using a pick for a few months

Fingers give me  the sound as fuller with more depth to each note but I’m still liking using a pick for a lot of songs for the fast attack and punch clarity 

 

 

Totally agree, its definitely worth working on and being proficient in both techniques. 

On 17/11/2021 at 14:56, TKenrick said:

FWIW I would say that ears trump theory knowledge almost every time, but ears take much longer to train and theory provides useful labels for sounds that make communicating with other musicians much easier.

This hits the nail on the head for me. Theory only lets us describe why something sounds good. Our ears actually tell us when something sounds good.

Like the theory of the spoken language, the aim is to learn it so well that you forget you know it.

Invest in an ear training course, Rick Beato has a great one for not too much money.

I would say a starting point would be to be able to identify common chord progressions using the Nashville number system. Then once you catch one chord with some practice you can understand where it's likely to go next.

If you Google the axis chord progression, it will help show just how similar most pop / rock songs are and it will be a good staring point.

Yup , I use a DG Harmonic Booster as a preamp, and I be pretty happy the the clean tone I get. It can bump the mids nicely.