gjones

I'm pretty sure he used a pick? I think? Nope, I'm wrong [url="http://www.youtube.com/watch?v=vsdU1-ZBaQY"]http://www.youtube.com/watch?v=vsdU1-ZBaQY[/url]

I think it's probably been thrown back into the skip from whence it was found.

The boy sure can mime.

I've flirted with the idea of a J-retro too but decided against it because if I needed versatility I'd have gone for a MM Sterling or an Yamaha watchamacallit not a classic Fender. But saying that I'd be interested in what your before and after opinion is of the Retro when you fit it..

[quote name='phil.i.stein' post='1120554' date='Feb 8 2011, 08:17 PM']more of a funk-blues thing really, but awesome for bass. the eponymous l.p. is well worth seeking out, especially their version of Dylans' 'ballad of hollis brown', and their version of 'voodoo'. of course getting someone with a voice like Aaron Neville is the hard bit.. [/quote] Possibly funky reggae? But it's definitely reggae.

This a nice easy ZZ Top song which you can play while drinking your pint with your free hand (my favorite type)

Congratulations.............I think you've passed the audition.

Make your own with chopsticks and gaffertape.

I have them on my old Mighty Mite P/J and they sound retro as hell with a big fat bottom end. If you use a mute they sound even better. I did try them playing live at high volume and they kinda disappeared in the mix but at quieter volumes and recorded they give a really fantastic sound and although they are a very heavy gauge they are also very low tension so are easy to play (the choice of Paul McCartney in the 60's and of Herbie Flowers who still uses them).

Ahhhhhh Pino.......such a groovy guy Here's some Pino neck bobbing action you may have/have not already seen (he's using the usual two finger method here but very effectively)

I've bought a couple of basses off ebay which both came with a case. But frankly I didn't care what condition the cases were in as they were only a means to protect the basses. Maybe it was the case he really wanted and was planning to throw the bass away when it arrived? There's nought a queer as folk!

I have 3 basses which all have different necks : a geddy Lee Jazz with an insanely shallow neck, a 93 Japanese Squire Jazz with the same narrow nut width but a deeper neck and an early 80s Mighty Mite P/J with a very chunky precision neck. I find the Geddy Lee is incredibly easy to play (almost too easy?) and make the other two basses I have seem a bit slow and clunky in comparison. What I did to improve the situation was to put slightly lighter gauge low tension strings on them (DR Hi-Beams), which has made a huge difference in playability. By the way I recommend trying out a Geddy Lee at you local music shop. The sound may not be what you're after but you'll love the neck.

You're right...................duh!!

Do you think the reason he's selling this might be due to recurring back pain? [url="http://cgi.ebay.co.uk/Electric-bass-sale-/320646526257?pt=UK_Musical_Instruments_Guitars_CV&hash=item4aa805b531"]http://cgi.ebay.co.uk/Electric-bass-sale-/...=item4aa805b531[/url]

My old drummer was a great guy who had some special skills on the skins but was on the flashy side and liked to showboat a bit which meant that too many times he would take his eye off the ball and forget that his primary role in the band was to keep the beat! Now he's gone and the band have a new drummer we sound so much better. Not only that but he makes [size=5]me[/size] sound a whole lot better! I no longer have to concentrate on holding down the rhythm so much, while my old drummer hits every cymbal on his drum kit. Now we sound like a seriously syncopated rhythm machine and when the guitarist solos there's a real solid foundation and a great groove to solo over (which is important in a 3 piece band). It also means I can occasionally get a little funky and go off on a tangent or experiment without worrying that the rhythm will disappear if I do. I've played with some good drummers but this guy is the business. Has any body else had this experience with a new drummer making them sound and play better than they ever have before.

[quote name='EssentialTension' post='1106833' date='Jan 28 2011, 11:01 PM']Headstock decal is wrong too.[/quote] Yes, according to 'The Fender Bass Book' the decal on this '69 bass' first appeared in 1995, the serial number will be on the back of the headstock.

[quote name='Doctor J' post='1101932' date='Jan 25 2011, 11:46 AM']The sound engineer shouldn't be viewed as an enemy, he's there to make your band sound as good as possible. There's nothing extra in it for him for you to sound sh*t either.[/quote] He/she is your best friend! The first thing you should do is ask his/her name and buy him a pint (if it's a decent gig and your band want to impress and you want to sound good). I know a lot of sound guys/gals and the most difficult thing to get sounding good in a crap room is the bass. Get a long lead so you can hear yourself at a distance and ask nicely to have a feed taken from you amp DI and listen out front to the sound. And if you had a good sound remember to compliment him/her after the show (they'll remember you next time).

You need to join another band who already have a set of songs all ready to go, learn their songs, then go and play a whole load of gigs. Then tell your guitarist to call you when he's learned the set. Life's too short for faffing about.

[quote name='tom1946' post='1100022' date='Jan 23 2011, 07:55 PM']Thanks for the input guys, I paid £675 for it a while back. It really is in stunning condition for its age too. Nice to know someone else has one the same age Fingerz, you sound happy with it. I can't get over how loud the pickups are, more than my MIA Jazz. I'll take a pic and stick it up tomorrow.[/quote] I, for one, will be looking forward to checking it out.

[list] [/list]Yes old squiers can be good but always try before you buy. I bought my MIJ silver series jazz bass because I tried a friend's out of curiosity (that was slowly moldering away, neglected, in the corner of his reheasal room) and was pleasantly surprised at how great it sounded and how well it was made. I kept my eye out for one on ebay and paid £250 for it...........which is a bargain for such a great bass. From what I could find on the internet the silver series squiers were a superior spec product made in Japan from 92 to 94 when most squiers of that era were made in Korea. My Squier jazz even has the little brass strip from bridge to bridge pickup you get on 62 re-issue style basses which is a nice retro touch. [attachment=69789:Squier.JPG]

[quote name='dlloyd' post='1097382' date='Jan 21 2011, 12:35 PM']Believe it or not, by the 1970s and Motown's move from Detroit to Los Angeles, he was considered too busy by a lot of producers and had difficulty getting any session work.[/quote] Too drunk more likely

I think most songwriters (if they're not bassplayers themselves) start off with a new song imagining it with a pretty simple bassline. If the bassplayer is not too chuffed with that, then it's up him/her to come up with a really good alternative idea for the bass part which will enhance and improve it. Of course not everybody is a bass genius like, for example, James Jamerson who could make a very busy bassline an integral part of a song. I wonder if anybody ever said to James 'Hey James, just keep it simple mate....' His amazing basslines were at the heart of many Motown hits which, probably, when originally written were envisioned with much simpler bass parts. A wee example of isolated bassline from 'What's Going On ' [url="http://www.youtube.com/watch?v=KqtELR5GyfI"]http://www.youtube.com/watch?v=KqtELR5GyfI[/url] I wonder if James ever played a simple bassline? There must be one out there somewhere?

Jimmy Page (heavy & funky), Robert Cray (bluesy & funky), Curtis Mayfield (soulful & funky).