Gust0o

I like this, as a masterful take on my more amateurish enjoyment of my old Ebanol fretboard. His work looks very good indeed - though I couldn't help noticing the fretboard glory shot containing a child's trainset in the background! Maybe some added extras?

Can I get the knee-jerk out of the way, please, and then we can have some sensible comments? Good? Ok: HOLY f*** WHAT THE f*** DID YOU DO TO THAT POOR HAMER?! Thanks, Tim, here's your Caps Lock back. Can you please now commit yourself to the only option left open to you, and go for Gold Sparkle? That sh*t would be boss. I buy your comment on the thumbrest, and it's good to hear the adjustment to the shape is working out for you. Perhaps a lesson for the less daring, myself included, about being will to look at some fundamental rather than cosmetic changes.

Yeah, I'd like a read - if I may, could I please go on the list?

It's nice; but that price nice? I don't know. I think I'm self-selecting out of being a vintage Fender enthusiast.

Easy! Easy!

Is it not the case that, to play the bass is easier than to play guitar; but to play the bass [i]well[/i] is entirely another matter?

I've always wondered what you need to do to afford some of the better instruments, since, looking at my pay slip I had assumed I was doing very well for myself - but, alas, I've only worked for "the man" for five years or so, so I have more time to graft before I draw rewards and comfort. I'm quite enjoying the notion of relativity, however. The bass costs only slightly less than I paid for my Mini Cooper S 09 plate last year Or, for a mere 17 YY Foderas, you could buy my three bed? I recently added a pizzeria on the Isle of Wight to the family business portfolio - the price? A snip at 7 YYs!

Just about everything by Eyehategod. I'd quite happily play a set of this material - what I had assumed to be utter sludge, is actually a really good opportunity to have a rock out. I'm quite partial to a bit of Sister f***er, which sounds more sinister than intended, I assure you!

My collection is almost exclusively 4-strings, apart from the solitary MTD 5 - but that's now the one which comes to rehearsal as the natural choice, when leaving the house. Our tuning of choice appears to be C, with the occasional venture lower. It's just more natural to play on the 5, without the loss of tension - and the need to continue monitoring tuning throughout evening - which you get with a 4.

I've noticed that my pink bass is anything else but, whilst under the house lights. So much for the standout! Big Red, yet again, serves up some sage advice -f it's a common bass, then much like buses, could not simply wait for the right one to come along? Something more rare or otherwise desirable, then consider it. Wasn't that much the story with your black Gus, Red?

I think it's none of the community's business, unless it's being done in an exploitative or insensitive manner. This notion of a "community of musicians" works, but only to an extent - and, as in so many examples, attempting to mix morality and business (on however limited a basis) only produces a muddle. My thoughts, such as they are, run as follows. First, our community. Yes, we are such in our discourse - our shared enjoyment of the instrument, and all that attaches to it. That is accepted. But this community is running what it defines as a 'marketplace' - the hint being in the name, that it is a market. Markets fluctuate, as do notions of value, and it should not be possible to realise a profit on that basis. It is a superb commendation of this community that so many people hold it in such regard, and find such personal attachment to it; however, in that emotional ownership, they should not assume that their personal standards should apply to all. I would refer the OP to this point. You may not like the ability to realise a profit within the marketplace, but it should not be assumed that that is the normal course of affairs. It might be laudable to see like-minded individuals favouring each other in their dealings, but it need not be assumed to be the norm - that's a very personal value judgement, and the freedom of the current system can see individuals elect to follow it or not, as is their wish. Secondly, we are not locked into a cycle of dimishing returns, and value is a subjective agreement between buyer and seller. We should accept that it may well be different for different people, even when considering the same saleable item - what was cheap one day, need not be tomorrow. Thirdly, whilst it can be disappointing to see a previously cherished instrument back on sale, I do wonder if a large measure of the resentment to making a profit is some form of sellers remorse - in perhaps letting the instrument go in the first place, or in the original seller not realising additional value in the original transaction. I suspect some soul searching amongst complainants will be required to answer that. Once an instrument has been sold, the pragmatic reality is that you are no longer the master of it - whether it is loved and cherished; sold for profit; or carved up for modification. If you are likely to have qualms, then you have the choice to not sell. What, perhaps, might stand us in good stead is to define what is acceptable - and I think that should include selling for profit - but also to define what is unacceptable, in much the same manner that other markets have regulation. I fully agree with the previous sentiments that an item is only worth as much as someone will pay, but gross or exploitative listings could be positively discouraged. That might include a realistic definition of "profiteering", which I feel implies a much more cynical will that simply making a limited margin over a limited number of transactions.

Red is totally correct.

It's on a par with my last chlamydia test.

Daz, would you be willing to give a quick personal review of the Simplified Sight Reading book once it arrives? Would be good to hear you're take on it. After browsing through Studybass, I think there's a lot that I missed out when skimming my Hal Leonard and others. I think I'll be back to hitting the books this weekend

This wasn't the video I was expecting, but still very good. Quite humbling.

I don't know how your memory works, but mine is only good to a certain level - be it tab or the dots, I like to make notes of the trickier parts to help give my practice structure. I only do so on a personal, rather amateurish basis, but I find it's useful to maintain notes - much like I would at work. So, if I'm looking at, I don't know Agile change methodologies or Systems Thinking, as much as I think I know it I'll have some key words or mantras recorded to aid recollection later. It's pretty much the same for the bass. There are some transcription wizards on here, who will no doubt see the exercise as a vital part of the art of music in and of itself; I'll confess to my limitations, however.

I can sense this thread will be eye opening. I still suck horribly at chords, scales and the otherwise minor appliance of science - possibly owing to a natural ability to muddle through and some over-confidence in my ability to play what's right. Eeee!

[quote name='farmer61' post='1025732' date='Nov 16 2010, 12:20 PM']Perhaps you could try tabs??? [/quote] Quote of the month, eh?

Do we need to be [i]Fender[/i] Jazz players to comment? I love the neck on my Lakland. It's very smooth and comfortable to play, but I think a chunk of that comes from my technique and preferences - in that I prefer to play with a Jazz pick-up at the bridge position. Naturally, that's not something a P-bass offers - though the Charvel and and BC Rich STs offer a compromise, in having a J-bridge/P-neck set-up. The strings and sound feel much tigher at that position, offering me a promise of more control and measure in my playing. The closest I have to a genuine P-bass is my NJ Eagle. Single split-P and the expected neck, albeit slightly slimmer as per BC Rich's wishes. It has it's uses too, but I'd gravitate to anything with the J at the bridge.

Always an interesting step up, moving from individual to batch production - I don't envy Jon some of the challenges he'll be facing! This is very interesting, however, and it sounds a great proposition. Looking forward to seeing more of it.

You'd think so icastle, but my mind is now starting to work in strange ways. Am considering continuing to blame the painkillers for my back!

Sorry, Faithless, I'll be sounding like a Luddite here - I assume phrasing is the distinctive manner of play and feel, exhibited by a given player? The unique emphasis they add to their playing?

Here's a question for the tone masters - even when you're admitting that you sound like yourself, how much variation do you find within your playing and gear? I had an odd weekend of seeming to play everything I own; and then spending an inordinate amount of time trying to make it all sound the same, instead of simply enjoying the different basses and set-ups for what they are. I'm not sure if I'm on the right or wrong tracks with that one (possibly a bit of both!) but it made for an annoying weekend, given my usual obsessive compulsive tendencies.