thodrik

I did grade 8 on the double bass when I was 17. Essentially it was the case of 'read for 30 seconds, then grip it and rip it' in terms of playing the notes. When playing though, make sure you pay attention to the tempo listed and any notation regarding dynamics, as this is good way to pick up a few marks in the event that you make a complete mess of the actual notes, which I believe is pretty common in such exams. I always thought that the sight reading pieces were about a grade or two behind the prepared pieces. As with everything, practice makes competent (usually, at least on a good day).

For the first meeting in every meeting/jam/recording project, I always bring my Fender Precision, just in case I encounter such ignorance/snobbery. Once I have the gig I'll bring what I like. People listen with their eyes in terms of music in general, its not surprising that it happens with basses. I've had the same with amps. I've had negative comments from bass players at a few gigs after bringing a Trace Elliot amp to a gig on the basis that 'they are only good for slap and they are rubbish for rock music'. I don't mind people not liking certain amps but it takes a particular level of idiocy to make fun of the amp belonging to the one bassist who actually brought an amp to a gig and then ask if you can use it.

[quote name='BigRedX' timestamp='1348054944' post='1808528'] IME music reps (and I know several) tend to be big on the BS. I be tempted to discount pretty much anything they say that doesn't relate directly to the products they are currently trying to hawk and everything else with a hefty dose of scepticism... [/quote] Pretty much. I also have a similar attitude to some people who work in guitar shops, or in fact any shop whatsoever!

My only 'in' in terms of music gear is a Peavey 6505+ 1x12 guitar combo. No 'outs' whatsoever.

[quote name='Fabrocker' timestamp='1354830696' post='1891110'] Hm. Geezer had a neck plate at bass. Here, in this model, [url="http://sp.j-guitar.com/uploads/1871/r/0376_2.jpg"]http://sp.j-guitar.c...71/r/0376_2.jpg[/url] - no. Weird. Some custom shop for Geezer, maybe? [/quote] The first series of the Excess had scratch plates, the newer ones do not.

Yeah that was the Excess.

My 78 Fender P is entirely original apart from the fact that the Scratchplate is cut into two. Apparently the previous owner had done this in order to allow easier access to the input jack which was always 'playing up'. Obviously he had never heard of a soldering iron as I have never had a problem with the bass since my brother did a basic soldering job 11 years ago. That has probably devalued the bass a fair bit from its 'nearly but not quite vintage' market value, but considering the massive rise in desirability (and thus price) of late 70s Fenders and the fact I bought it for just under £400, its not something I unduly care about.

I generally dislike binding and blocks outside of Gibson SGs and Les Pauls. I like a maple fingerboard on a Fender type bass, but I would agree that custom block colour finishes and anything with a tort pickguard generally look better with rosewood. My P bass is cherry sunburst with maple board and apart from the lacquer starting to fall off it looks fine. It even got a 'that is a nice bass' shout from someone at the gig I did last night, which generally is more attention than any of my other basses ever receives.

[quote name='Prunesquallor' timestamp='1353695826' post='1877639'] I'm not normally a fan of relicing, but that does look good! That blue thing is dog-ugly though. [/quote] I tried one in that finish (with added) with a maple fingerboard. I must say it looked great in the flesh (and sounded great). For some reason though, that same finish with rosewood board does nothing for me.

I didn't know that they made 24 fret 'vintage' Metros. Very very nice.

Pictures look okay but I'd want a full length picture of the neck from both sides in order to see the wear and tear, or lack thereof. I always hate that 'last of the good ones' rubbish. I think it is only allowable when referring to pre CBS Fenders, which this is not. Even with that in mind, there are gems and dogs in every Fender era. Hence why I would never buy a Fender, new or old, without playing it first. I think that the price is a bit steep for an all original as P basses are generally not as sought after and as valuable as Jazzes.

When I was still doing standard tuning I was using D'addario Prosteels 45-135. Light enough to slap etc on the G string with enough girth on the low E and B to retain some thump. I honestly haven't got on with E strings lighter than 100 or B strings lighter than 130. With your discount I would probably get the 45-130 Rotos. They are decent strings.

[quote name='fender73' timestamp='1352151206' post='1859505'] Actually, i may wait for the Rotosound Jazz Bass. [/quote] Complete with un-sanded neck for extra texture so it matches the strings... Nah, I like Rotos.

[quote name='stingrayPete1977' timestamp='1352141188' post='1859305'] Alleva, Sadowsky and overwater etc etc all have full order books [/quote] There should be some kind of law requiring one 'boutique Fender-based design' instrument maker to go out of business before another one can start. I own a Sadowsky, but even I think that the boutique Fender market is getting a bit silly.

[quote name='JTUK' timestamp='1351963003' post='1857374'] . The Ampeg should be pretty mobile on its wheels. [/quote] Try getting it down a flight of stairs by yourself when your drummer and guitarist are 'busy'! Seriously, though, wheels make a huge difference.

[quote name='PlungerModerno' timestamp='1351960951' post='1857327'] Isn't the HLF a ported, scooped sounding cab? I've never played through one but I've heard descriptions saying it's not a typical SVT sound. I suspect the S12 will give you more flexibility both in transportation and tone - while the HLF will have a more traditional coloured effect - which may be perfect but may not, I really wouldn't know. [/quote] Yeah, the HLF is not really a half-sized version of the 8x10. Its a hugely deep, heavy ported cab. I'm not sure that it is scooped so much that it is really bottom heavy. It throws out loads of low end and I often have to do a bit of work to actually tame the sub frequencies. I think there are better, lighter cabs on the market, but Ampeg still has that element of cool, despite its limitations.

I have been constantly switching brands lately in order to find strings that work well for D standard tuning. Rotosound 50-110: decent, cheap, rough texture but after 14 years my fingers are immune to this GHS Heavy Boomers 50-115: Better fundamental than the Rotos (115 gauge may help), cheap, but didn't last that long before the 'zing' went (now) D'addario Prosteels 55-110: Really snappy sound, decent enough tension though a bit unbalanced. (next) DR DDT 55-115: the con already is the damn expense!

What I like generally depends on the neck shape rather than the length. So probably not.

[attachment=122034:Bass stack.jpg] When I got bored during the summer. I think that Mo Farah is in the background on the tv.

You won't damage the neck by downtuning one string down. You would maybe damage it if you started tuning up to G.

[quote name='Meddle' timestamp='1351022839' post='1846400'] I have the opposite problem. I like their basslines (that descending line on Blood and Thunder during the harmony guitar parts is amazing) but I don't like their use of acoustic guitars in the studio and I find their drummer overplays far too much. Sure he can credit some sort of jazz influence because his snare work is similar to Billy Cobham's coked out snare work, but I really wish he would play more of a definite rhythm and less of a jazz solo on every track. [/quote] I have a similar view. Troy is good player and fits his parts into the band really well. If he tried to play more than he does then there would be nothing really holding a lot of the songs together, since the drums and guitars are generally all over the place. The autotuned to hell Brann vocals on Crack the Skye and The Hunter put me off the band at times. I still like the band in general though.

Wow, I didn't know they were so expensive now. Its probably know broke into my top ten most valuable books. Edit: Yes, I am that much of a geek.

I had a Trace Elliot combo that went dead a year into warranty. The replacement is still going 12 years later. Sometimes things just happen, it doesn't necessarily mean that the amp itself is poorly designed or made.

Just play the Steinberger. I've played a multitude of toilet gigs over the years with good gear without any issues other than a few cosmetic dings. Just take care of your gear and have it insured.

I don't know anybody who has Genz Benz kit, but good luck with your search.