The Perils of Fingerboard Markings - Page 4

Bubbabass · #61 03-26-2005, 12:49 PM

If Brad Opland gives a lecture/demo at the 2005 ISB convention, check the dots on his Hawkes' fingerboard. If it is good enough for the CSO, it's good enough for whoever feels the need, IMO

Dave Irwin · #62 03-27-2005, 02:08 PM

Precisely why I havent lost sleep over the dots on my fingerboard.
The term cheating was not to be taken as a negative.
It was a term he used so I'm comfortable repeating it.

Quote:

Originally Posted by Damon Rondeau

Your Dad made his music and presumably took great joy in it. I'm sure he didn't lose any sleep about the capo. "Cheating" just doesn't enter into it.

If you need to look at the neck, look at the neck! Just play in tune. It's music so the ears rule at the end of the day one way or t'other.

Chasarms · #63 03-27-2005, 02:41 PM

Quote:

Originally Posted by phlybass

I went to the Fretware site and didn't really find a description of the "Microdots" as far as how many and the size, other than the picture with the penny for comparison.

Are 14 "Dots" included for the price quoted?

Thanks for the info, and regards,

Alex, (aka pllybass)

They are 1/8" diameter. I don't remember how many were in the package. I still have some left. One or two came off here and there and cracked a couple trying to get the backing off.

Unless you touch the neck or look really close, you can't tell that they are not inlaid. If you want them off, you can get them off just by popping them off with your fingernail.

A pretty neat product if you ask me.

BTW, as a guitarist also, I use the term "cheating" as it relates to the capo absolutely tongue in cheek. I use one all the time for various reasons.

I did run across a guy no too long ago that actually used two. One full one and another that he had shortened to only capo one or two strings to create a thumb drone string. It was an interesting approach.

Adumb · #64 05-03-2005, 07:59 PM

i started playing standup yesterday. i have markers on the 2nd 5th and 7th frets.

D McCartney · #65 10-05-2005, 07:06 AM

Quote:

Originally Posted by Chasarms

http://www.fretware.com/catalog2/pro...products_id=30

I am a jeweler by trade. It should be noted that abalone dust is quite dangerous if it gets into your lungs. If you are going to cut this material, you should wear a respirator and hold the shell in water while cutting. This stuff can make you very sick, and even kill you.

Dwight

Paul Warburton · #66 10-05-2005, 04:12 PM

Quote:

Originally Posted by Adumb

i started playing standup yesterday. i have markers on the 2nd 5th and 7th frets.

No you don't........

**Damon Rondeau** · #67 10-05-2005, 04:33 PM

Say goodbye to those frets.

PaulCannon · #68 10-05-2005, 05:33 PM

This is an old thread, but I'd like to say a few words about Edgar.

I've asked him a number of these questions, and he's generally happy to respond. The bow? He's been using the same $10 bow since he was in grade school. It's broken in six places. He says he knows it's "a piece of ****" but that "you get used to things you've been using all your life." He says he likes it because it doesn't bounce, and he can play as loud as he likes without hitting the stick to the hair.

As for the dots, they were put on the fingerboard at his request by Robertson's. He says they won't help somebody who has bad intonation, but they seem to take him from "94% to 96%," which apparently justifies the expense.

I don't usually mark my fingerboard, but I have no problems with looking. My intonation is considerably better when I look. I don't care about "looking professional," because music has nothing to do with image. The important thing is the sound that your instrument produces. If it's out of tune, then the game's over.

ToR-Tu-Ra · #69 10-23-2005, 08:49 PM

A couple of months ago, I asisted a jazz gig and there was this bass player who had what looked like a czech ease and had position markers. I'm not talking about 5th, 7th and 12th(octave) stops, no... I'm talking about marks on each and every single stop (half tone) through the fingerboard! Now, I'm rather new to Real Bass and still get out of tune quite often, as a matter of fact I do look at the fingerboard quite a bit (no markings on mine) to get an idea of where I'm at. But markings all the way through the fingerboard? C'mon now, that really felt like he was cheating! He might as well get a fretted upright!

Aaron Saunders · #70 10-23-2005, 08:56 PM

Quote:

Originally Posted by ToR-Tu-Ra

A couple of months ago, I asisted a jazz gig and there was this bass player who had what looked like a czech ease and had position markers. I'm not talking about 5th, 7th and 12th(octave) stops, no... I'm talking about marks on each and every single stop (half tone) through the fingerboard! Now, I'm rather new to Real Bass and still get out of tune quite often, as a matter of fact I do look at the fingerboard quite a bit (no markings on mine) to get an idea of where I'm at. But markings all the way through the fingerboard? C'mon now, that really felt like he was cheating! He might as well get a fretted upright!

Or a fretless bass guitar...

bassbaterie · #71 12-06-2005, 08:01 AM

Was thinking about this thread the last few days...got a new fingerboard on one of my basses which used to have markers (steel, inlaid in the e-string side), now, no markers...i have 2 basses, 2" difference in string length. I just found that over several months, I forgot about the markers. I can switch between the basses without too much trouble. Funny, just started focusing on other issues and 'assigned' intonation to auto-pilot, and it started happening. I think a large part of what developed, once I quit thinking about it, was the belief that it's possible to play the bass in tune.

Johnny L · #72 12-06-2005, 08:50 AM

Quote:

Originally Posted by bassbaterie

I think a large part of what developed, once I quit thinking about it, was the belief that it's possible to play the bass in tune.

I've been getting a peek over the horizon over this sort of thing lately too. I've obsessed about intonation for a long time and will probably continue to obsess over it forever, but I've been singing along with those scale/arpeggio recordings I picked up a long time ago in the car (man I'm tired of singing with poor intonation) and have been enjoying better results with the bass also...not gimacing so much when the "here comes the harmonic/open string where the hell am I" evaluation happens *LOL*

It's definitely a nice feeling after all this time

Tbeers · #73 12-13-2005, 02:39 PM

Lately I've been thinking about putting one marker on my bass for orchestral playing (where it is so difficult to hear sometimes). The one place I feel as though it would help, surprisingly enough, is the low A on the E string. I just can't hear myself well enough on that Ab, A, or Bb. For me, intonation at that spot is much harder than in thumb position.

hdiddy · #74 12-13-2005, 02:43 PM

Theo, how about a simple temporary FB pencil mark? It's been suggested on the forums before.

JoeyNaeger · #75 12-13-2005, 07:55 PM

If I'm working on a piece with a big shift or something, I often will put in a pencil mark on that one particular note. I find that by the time the pencil wears off, I've trained my arm to hit the note well enough anyway.

PaulCannon · #76 12-13-2005, 11:27 PM

Edgar's got the inlays, but they cost him a few thousand bucks.

Tbeers · #77 12-14-2005, 07:15 AM

I don't think I would ever get inlays, but I might consider putting a little pencil mark at that A before an orchestra concert.

ToR-Tu-Ra · #78 12-14-2005, 05:03 PM

Pencil marks sound ok to me specially because even the slightest change in the bass will make the markings off. For example, the bridge tilting a bit, a string detuning in the middle of the piece, wood expanding and contracting with changing seasons, etc etc... pencil marks you can rub them off and replace them in the correct place and even try placing them in strange places like Db on the E string if it's what you need for a specific reason.

Minger · #79 12-14-2005, 06:15 PM

Heh, I'm going to probably take the tape (had two, one for first position, but that was wayy off, and the other for uh..not sure what it is...would be like the 7th fret...or something. G string would be a D...) off soon...Been playin the DB for 2-3 months now and am feeling pretty confident.

But then to the girl who stepped on my toe the other day (she is um...a big girl) on purpose because she just oculdn't annoy me (apathy knows no bounds!) taking the tapes off would be interesting, but then she'd never notice because she never plays in orchestra anyways...

Ah, for some reason this is just making me GAS for a fretless electric...without the markers.

hdiddy · #80 12-14-2005, 06:52 PM

I don't use marks of any sort, at least not ones that I made. I just look at the flame/grain patterns on my neck. They're my landmarks . I know where B on the E string is cuz it has this unique flame there and I know it's roughly 1/4" above the grain. The rest I zero in on the right pitch using my ear.

Who needs pencil marks or tape? Everything is already there. When performing, figuring this stuff out takes too long and I just go by my ear for everything. By now I've pretty much weaned myself off of the grain marks. I dont' really use them anymore and noone knows the diff. My teacher never knew I was using this to my advantage.