Paolo85

Right, I thought I had heard the drummer's name before... Scott's drummer and keyboard player played together in this other fusion album with a more "relaxed" vibe which I find rather beautiful Apparently they also plaied with Gary Willis. Chances are that's the link between them. I think Scott studied with Willis although I am not 100% sure. Certainly Willis does a lot for SBL anyway

I have them in my P bass, I adore them. I must say though I think there is always a trade off. Brighter pickups that are wound a bit less can have a different charm and even a bit more clarity than the Tonerider IMO. Still, I am well set on my Tonerider

Weren't they using funk for these movies?

Well, it's fusion. I have listened to two songs only, just coming back from seeing a band live, I really do not have an opinion on it yet. But I must say why I adore some fusion albums, it's not very many and rarely that's the case when the guitar player clearly likes their metal (nothing against "normal metal though"). That being said, in my opinion, any consideration on this album should be made in the context of its genre. If someone doesn't like fusion they won't like this full stop. Same way there's no chance I'd like a Britpop album. There's part of BC that seem to find it hilarious that some musicians study music, build chops and god forbid try to push the boundaries of what can be done on the instrument - or at least move to the vicinity of those boundaries, as I think it's more the case here. Not a comment on the OP, to be clear.

I had a GSR205b, not tje same but similar. Very good neck for the price point (including good fretwork). Sound I was not 100% in love - not that 9t was bad. My bet is that the split coil of the GSR200 would sound better

I was forced to stop at 18. Then tried again years later but it did not last long - wrong approach, wrong time in my life. Thinking back, what's interesting is that the periods that followed these two stops were quite amazing in terms of exploring new things and personal growth. I would not say that's because I was not playing. But maybe it helped in terms of freeing up mental space. In fact, the first time around I believe it even made me a better at listening to music. As a musician, even hobbyst musician, one HAS to listen to music. Which does not mean that it's a chore, but part of the brain listens to music as something that maybe would be cool/useful to learn/play/take inspiration from. When that part of the brain was switched off, and I was open to the possibility of not actively listening to music at all for months (and it happened at times), it became "if I give this record my time and attention, what do I get back?". My tastes changed a lot and I am quite happy about it. Obviously, this is not an argument against playing. I do play now. Every day for the past two years. But for those of us that do not have to make a living with it, it is always fair to ask ourselves if it is really rewarding, or maybe at certain times in out lives it is just a slightly addictive habit. Or maybe just part of our self-image that we are afraid to let go because of how much we have invested in it, and we end up investing more (more gear, for example) in order to keep the flame alive when we could just explore something different.

I went a couple of times. Last time the staff seemed almost uninterested in concluding a sale ("...or you can buy online it may be easier", something like that). I suspect Yamaha sees that shop - which is quite magnificent compared to the Denmark street shops - more as a way to support the brand than a way of making money.

I may be totally wrong but I am not sure a shim would necessarily work out fine. Higher tension strings do not change the neck angle directly. They do so by adding relief/bow. If you have no room to counteract that with the truss rod, a shim may reduce the string height at say the 12th or 17th fret, but you'll still have a significantly higher relief than you were used to, which means the overall playability is not as it was. Consider string height is discussed in terms of 1.5, 2.5 or 3.5mm. Relief is discussed in terms of 0.1mm meing low, 0.5mm being high. Granted, you may be ok with a higher relief. But there may be an argument for lower tension flats there..

In my opinion,somewhere near the P position. Then you tame it with tapewounds, tone rolled off, a mute, and playing near the neck. I was very happy with the results on a P. For DB you need punch and clarity. I have limited experience of pickups closer to the neck bit yes, so far my impression is thet you lose something

I have basses with both. You'd expect the latter to create less confusion when you switch from fretless to fretted and viceversa. Strangely, I find it's the opposite

I would say perceived tension more than rounds of the same gauge but not a lot more. Less than LaBellas (excluding the LTFs)

Some notes I wrote somewhere else: "Thomastick Infield – Small gauge, extremely low tension. Very soft on the fretting hand but may require higher action depending on the quality of the fretwork as they are more prone to buzzing (in general that’s always the trade off wirh lower tension/gauge). They reportedly last forever (you hear of people that hsve them on for 10 years or so) and have very strong high mids for being flats. So unlike most flats they tend to stand up in the mix a bit more Labella – I have tried the Jamerson, the 44-104 and the low tension flats. Low tension flats are my favourite, they are surprisingly thumpy compared to the gauge. The round core in my opinion makes them more “bouncy” and expressive. I am a for lowish gauge strings in general for similar reasons. Other Labellas are stiff relative to their gauge (as most flats are, not exceptionally stiff). LaBellas apparently are the go-to strings for a vintage thump. They have both the thump and to my ear also an element of pronounced top end. To my ears, they sound a bit unbalanced unless the gauge is high (the E is too thumpy and can at times disappear, the G has that top end and not enough thump so may sound tinny with the tone rolled up). But that’s me, they are the most popular flats and maybe my ear is funny Dunlop flats – they have a thin core and are rather low tension, and a bit like the TIs have a somewhat roundwound zing. I prefer the TIs -GHS precision flats – I have tried 55-105, 45-95 and 45-105. The 45-95 are my favourite flats alongside the TIs. Not properly low tension but more pliable than LaBellas. 45-95 and 55-105 have unbalanced tension, with e much sofer than the G (and the 55-105 are hard work for me) – but I like a beefier G so it’s worth it. A bit less thump and more clarity than LaBellas in my opinion. Still, we are talking proper vintage thump, nothing like Dunlop or TIs. They take a long time though (weeks and months) to get to their best sound. At first they have some zing but not necessarily in a great way -D’Addario tapewounds. Not properly flats but, even more than flats, tapes reportedly last forever. They are strange in an interesting way. The tape wrap dampens the sound so they sound “weaker” than flats. Also, it gives them a double-bass like attack with string initial attack and fast decay. There is some thump to them but inside the nylon there are actually some quite zingy rounds. The result to me is similar to newish nickelwounds with the tone rolled of a fair bit (but with the different attack). The perceived “weakness” mostly matters in isolation, alongside other instruments they sound just fine. The G sounds a bit tinny to me though – LaBella tapes 60-115 A bit like the d’addario tapes but less zing and way more thump"

Hi there, that's very kind many thanks! However, it turned out the truss rod is double action so I cannot get the nut off. Also, fortunately, it turned out thay my local tech says the nut is not rounded really, is fine, the allen key's wiggle is within acceptable and possibly it's the allen key I have at home that is a bit worn. False alarm!

I was very interested in plucking with three or four fingers right when I started. At the time plucking with more than two fingers, much like playing a six string bass, was seen as really cool among local metalheads. I quickly found that using three fingers was a very easy shortcut for galloping in Iron Maiden songs. Playing straight sixteenth notes with three fingers also seemed a reasonable option. The 1231231 you are describing. But then I found that for all things that involved more than one string, three fingers were creating new problems in terms of coordination. In the end, while I admired Billy Sheehan, I ended up thinking it was not worth the effort to develop the technique for my purposes. Over time, my index and middle got fast enough to play what I needed to play, and I abandoned plucking with three fingers completely. Most of the exercises then were aimed at bringing the left hand up to the speed of the right one - which I never managed, and got injured in the process.

Just to report that the UEB is working after all. I taped a small balloon ribbon roll (yes) to the back of the upper horn. It sticks out and rests exaclty on my sternum as I play, and that keeps it fairly stable. The stand now just keeps the bass up, and prevents it from twisting. Agreed with @Burns-bass that that's not the real thing. Still, fun to use and keeps me away from the temptation of a short-scale EUB. After some playing, no sign of pain in my left hand, wrist or forearm, so I have good hopes that I have some aspects of the upright technique figured out. But the back of my shoulder is all stiff so maybe I am not doing it too well yet

Meet the UEB - upright electric bass. Stuck on a tattoist arm rest, set up with unnecessarily high action to make the experience more vaguely realistic. To be honest it is a failed experiment. The bass is very heavy (it's a cheap Fazley that competes with the heaviest Harley Bentons). I did nof feel like chopping the wings and having to redo the electronics. The center of gravity would really be on the neck. Obviously I could not screw it to the neck. Result? It wobbles a bit when I play. To make it work, I should probably find a SERIOUSLY sturdy stand. However, I am tempted to just cut my losses. It was meant to be just a bit of fun. It's ok to play one note per bar, maybe try a slow two feel, see how far off my intonation is (a lot!), experimenting with using upper arm and shoulder muscles to play on the fingerboard, and see if it's painful or not. That should be all I need while I wait for the right time to buy an EUB to come EDIT: let me at least celebrate the acoustic sound of this, which with the superhigh action and plucked like an upright does sound more "uprighty" than I expected!

Right, I have been thinking this through and I thought it was worth writing a summary, with a question for the OP -The seller gave their bank details to the @theplumber -The wife of the OP typed the bank details for the payment -Both the OP and his wife doublechecked the bank details -The bank details typed were matching those provided by the seller, this was confirmed ex-post -they made the payment -the money went to to a different bank account. Now, the question for @theplumber. When you say that the money went to a different bank account, you mean different sort code and account number (as was my initial understanding), or just different name and address from that provided by the seller? If the former, that's not an APP, just because it does not match the definition, and it's hard to imagine how the seller has any responsability. If the latter that's definitely a scam, a pretty straightforward one, and it should be looked into it closely by the mods I believe

My thinking would be that if somebody was able to change the bank details manually typed and doublechecked by the OP and his wife in their heavily encrypted banking apps/websites, that would mean -that they have the OP wife's phone or computer hacked, or the bank hacked -that they are very skilled, so they would probably try to sell a Fodera, not something that has been reduced to £95

Well, it is a miracle to make well built, good sounding basses for 100 pounds. But I am going to play my usual role of reminding that some have quirks (eg being stupidly heavy and/or bad balance). Over the past year I have read of plenty of people here that did buy one and then sold as they did not want to put up with it. For a beginner it could be a pity as it could discourage from playing altogether. I'll join the chorus of those saying that a good setup is key. Maybe more important than the bass.

I wish I could do that! The problem is that I mostly play late at night

Does anybody have good ideas on hi ow to stick a heavy P bass onto this? https://www.gear4music.com/Drums-and-Percussion/Heavy-Duty-Cymbal-Stand-by-Gear4music/1J60 Or maybe @Paul S , @sandy_r would you be happy to show how yours attach to the stand? Thanks!

Now that's a cool idea! I mean, ultimately I'd want to have a full 3/4 size, but I have a cheap fretless, already butchered as I was experimenting stuff, currently not used really, which I may decide to drill on a stand just to see how it feels to play upright. The completely flat radius of that fretless may be a big issue though. Then maybe I'll wait for any cheap EUB to come up for sale at a time that suit my finances and do what @Paul S did!

It wasn't my experience but maybe that's just down to lack of technique

Right, I apologise because obviously I am not talking clearly Yes that's the problem I am talking about. I at no point was meaning to discuss plucking technique. If the pressure of the left hand (for a right-handed player) moves the EUB around, the left-hand thumb has to kick in to stabilise. This is not what is recommended as a safe DB technique in all instructional videos I have watched. So what one has to buy for a stable EUB? Yamaha silent bass? Just buy a stagg and attach it to a good stand? Would the Warwich Triumph hold stable?

Weigh may not be the correct word. What I meant is explaiend here Bottom line, it seems you don't just squeeze strings between the thumb and the other fingers as in an EB. The DB is stable (leans on you) and you use bigger arm-shoulder muscles to play. From memory, some instructional videos describe the effortless nature of the movement as using the "weigh" of the arm. Maybe they just describe a feel, but the slight angle of the db may allows for some contribution from gravity (from a quick google, but don't hold me to it, a 15% angle would allow to transfer 9% of the weigh of the arm. A 10% angle though would not be sufficient to transfer anything). Regardless, and EUB for me would need to be either on a properly solid stand, or be designed so that it leans on the body well. The little metal "arm" of the Stagg did not work for me, I was always keeping it in balance with my thumb. The cheapest options I see on Thomann that from the picture seem to fit the description are the warwich triumph and the NS Design WAV4c. Just wonder how both feel in therms of balancing for those who tried them and if there's a cheaper option