The BMT series have been built from 1993 to 1997 - basically it has the same spec like the all-time top-of-the-line Smith series - the later Fusion Elite. With a small difference: The BMT Series has the real neck-through concept. Newer neck are built like dove-tails. You can see the difference in the back. The real neck-through is of course more expensive as there is much more waste from sanding the neck wood piece. Additionally - the headstock is black instead of matching the top wood.
The BMT are probably the most sought after basses today. There are about 150 built - and this is the one of the very rare fretless ones. This bass was originally fretless - has been fretted and later defretted again. Honestly I must say that I prefer the fretted sound on Smiths.
Condition is absolutely like new ! The Quilted Maple looks much better in real life than in the pics.
AAAAA Quilted Maple top
7pc body, 7pc neck
34“, 18mm spacing
Weight 4,58 kg
Original Smith Case
Even if you like to let a top luthier fret this bass for let's say 400 GBP - you will get a llike new top-of-the-line Smith with the typical "click".
Fbass AC6 in mint conditions
Shipping in EU included in the price
Finger ramp easily removable attached with light double scotch tape
4700 Pounds NOW 4400 Pounds or 4600 Euro including shipping in EU countries
Possible trades only with FODERA Basses 34"
WITHDRAWN - Mods please close.
Ibanez SRF705 Portamento fretless 5 string. £500 (no trades)
Feb 2014 Portamento 5 string in good condition: one very light scratch on rear and one ding on the top (shown in photos). Fantastic bass: light, lovely to play and a huge range of sounds. The Aerosilk Piezo pickup is brilliant: really 'woody' tones. AFAIK I'm second owner from new: I'm never going to use a fretless with my band because it's 100% wrong for what we play and I've run out of space, hence the sale. https://www.ibanez.com/eu/products/detail/srf705_1p_05.html
Collection preferred, or will drive up to an hour from PE11 postcode to deliver / meet. Happy to discuss sending by courier too at buyer's expense.
7.7lb / 3.7kg
Unlined '30 fret' neck (has side lines and dots)
16.5mm string spacing at bridge
305mm neck radius
Cosmo Black hardware
Active 9 volt
2 x Bartolini MK1 pickups, each with own vol
Piezo bridge pickup with own vol
Trim pots to adjust individual string volume
There is some minor tarnishing on the hardware. Pots all function properly with no crackle. Tuners operate as you'd expect. Truss rod turns easily. Very low action: if you dig in, you'll likely want to increase the relief! I guess it's fitted with the D'Addario Chromes that it left the factory with... I've certainly never restrung it.
"Tic-tac bass" is a method of playing, in which a muted baritone guitar doubles the part played by the bass guitar or double bass. The method is commonly used in country music"
Emily Sings is experimental and new for me and I ended up revisiting an old bass technique. I needed to as with sparse playing and no percussion it does the job of the rhythm section well. It's a fretless with a bass Vi picking out the beat. There is similar treatment in the other tracks. Doing your own thing and being able to experiment is fantastic. I hope that you like it.
Emily Sings is the first of several planned singles and videos from the experimental new album “Blue and Hazy”, which is scheduled for release late in 2020. I hope you enjoy it.
Recording took longer than I expected due to a number of errr challenges. There is only vocals, acoustic and bass guitars on this track but without drums the guitar and bass are also the rhythm section and had to be spot on to get the sound I wanted.
I envisaged using double bass but in practice that didn’t have enough sustain and notes faded out too quickly. Pete suggested trying his Ibanez SRH fretless bass. This sorted the tone and sustain but it lacked high end and bite. Additional bass was added with a Eastwood Sidejack Vi, a 6 string bass that was played over the top in tic-tac style with a pick.
The guitar signal was split into two and recorded as both an acoustic and effect signal. These were then blended back together for a tighter sound. That also allowed sume subtle fading in and out of the reverb. I used a favourite Taylor (mahogany) guitar, with a Strymon Big Sky reverb pedal. It generates all of the choral, background swells and is also used on the solos.
Vocals were tweaked by Charlie Lintern in the studio. Some lines were changed later and I found that my voice had changed slightly, as I’d had corona virus. A permanent change I’m told, not that it sounds better or worse, just slightly different.
Eddie Mole: Guitars, vocals and bass
Peter Brownbridge: fretless bass
Sound Engineer: Charlie Lintern
Recorded at 13 sound studios at Weston super Mare