The Last Bass Outpost

Bullsh**ters on ebay is nothing new?

On my (now finally sold) '74 P I put a demudded mudbucker in neck pos. Had a broken pickup, just wound both bobbins with thicker wire. Lower output, less mud, matched the p pickup nicely. But awfully polite, not very gibbish at all.

The three point is a lot like anal sex really, not for the uninitiated and it takes some preparation and skill (you don't want the stud slipping out for instance once you got the saddle position right), but once you get the hang of it ...

Uwe, any bridge you 'load from the rear' invites to anal thinking

So it makes total sense; the mkII if you will.... actually considering the very earliest EBs with the single coil sidewinder lets make that mkIII.

I see DP references coming... No thread without it

Of course Geddy muted. When you play fingerstyle you mute adjacent strings with your picking fingers. They just land on them and deaden unwanted sympathetic vibration. This is done almost unconsciously but it's very effective. Try playing without anchoring the thumb on the E string and landing on the string above the one you're picking, you'll see why it doesn't work. It's not just noisy, it's unmusical.

That's one of the things I like about Geddy. Busy playing but really clean and tidy at the same time. All over the place but never gets lost.

Besides replacing the corroded Strat jack I'm not too sure what I'm gonna do with this one.

Optograb!

I'd be worried to unintentionally hit those buttons while playing.

Same here. I rest my thumb at the end of the neck or at the neck pickup, so that area needs to be clean. Other than that, a fine looking bass👍

You don't get to play with Bill Bruford and Allan Holdsworth (and Dave Stewart) by being a slouch on the bass. 

Thanks, I don't think I have seen this one before!

Yet he has never really considered himself either a jazz- or prog-rocker. He no doubt could.

Neil confessed that when he worked with Allan (Allan's band, not Bruford) he was really struggling to keep afloat.
In bands like Bruford, or National Health I suppose, you have tricky songs but there will probably be sheet music for the players
to learn. Allan's songs however, were constructed as platforms for improvisations and I suppose you'd need to really dig into his mind to follow. Paul Carmichael did a great job on the IOU album, and of course Jimmy Johnson is a natural force in this context. When Allan goes for a cosmic ride with a great drummer, it must be a near impossible task to hold the song together. I saw Jimmy Haslip sink like a stone on a few songs live; with nothing solid to cling to for the next few minutes you just have to play lots of 16th note chromatic runs and hope nobody takes a notice I was lucky enough to meet Allan a couple of times, but he only talked about drummers and ale