Well, then, we're more or less in agreement.
I, of course, can't speak for Edgar, and don't want to put words in his mouth. But I have been around long enough to know that what people say in interviews and masterclasses can change and evolve over the years, and even change from day to day, depending on how things are going that day. I read an interview with him where he said almost exactly what you wrote in your post. And I've read the other things as well. But even with famous players I've spent time talking to about bass and music issues, or had lessons with, you can't always take what they say at face value. Though the statement you heard sounds perfectly reasonable to me. I can easily imagine that he originally did it for fun when he got his new fingerboard, influenced by mandolins etc. At first found it funny that it stirred up controversy, and then found that the marks were useful sometimes. Then maybe not so useful after a fingerboard dressing, or seasonal or travel changes put them in the wrong spots... Maybe how he feels depends on who he's talking to, and whether he's happy about how the bass feels on a given day. Beats me. Though I still think he wants to see how many guys he can get to do it....
Really, my main reason to bring it up was that I don't think it's right to use Edgar as an example to support the idea that "Whether you take years to study hand placement so you don't rely on any visual cues or not really doesn't matter- "
I think his playing is proof that it does matter...
You know, not to prolong this, but playing in tune on a string instrument includes playing with disciplined, consistent technique. Using the right part of your finger and holding it to the string in an accurate, controlled and consistent way. Every day, I practice scales in intervals, 3rds, 4ths 5ths 6ths, 7ths, octaves. Playing those in tune is not just about moving your hand to the right spot on the board. It's much more precise than that. Your finger has do contact the board in the right way. These are things about you and your muscles and body, not the bass. When I would go for lessons with my most recent teacher, I would play on his bass, with a very different string length from mine. When I played out of tune, I would say it was the string length throwing me, and he would say, if you can't play it on any bass, you don't know it well enough. And he was right, when I knew something well enough, I could play it on his bass.
What does this mean? I don't know. It seems that a lined board offers a certain instant gratification. The first day you play fretless, probably you will play more in tune with a lined bass. But in the end, they both require the same work to play well. I think that whatever board you choose, if you're not willing to put the effort in to play *really* in tune, maybe fretless isn't the instrument for you....
I, of course, can't speak for Edgar, and don't want to put words in his mouth. But I have been around long enough to know that what people say in interviews and masterclasses can change and evolve over the years, and even change from day to day, depending on how things are going that day. I read an interview with him where he said almost exactly what you wrote in your post. And I've read the other things as well. But even with famous players I've spent time talking to about bass and music issues, or had lessons with, you can't always take what they say at face value. Though the statement you heard sounds perfectly reasonable to me. I can easily imagine that he originally did it for fun when he got his new fingerboard, influenced by mandolins etc. At first found it funny that it stirred up controversy, and then found that the marks were useful sometimes. Then maybe not so useful after a fingerboard dressing, or seasonal or travel changes put them in the wrong spots... Maybe how he feels depends on who he's talking to, and whether he's happy about how the bass feels on a given day. Beats me. Though I still think he wants to see how many guys he can get to do it....
Really, my main reason to bring it up was that I don't think it's right to use Edgar as an example to support the idea that "Whether you take years to study hand placement so you don't rely on any visual cues or not really doesn't matter- "
I think his playing is proof that it does matter...
You know, not to prolong this, but playing in tune on a string instrument includes playing with disciplined, consistent technique. Using the right part of your finger and holding it to the string in an accurate, controlled and consistent way. Every day, I practice scales in intervals, 3rds, 4ths 5ths 6ths, 7ths, octaves. Playing those in tune is not just about moving your hand to the right spot on the board. It's much more precise than that. Your finger has do contact the board in the right way. These are things about you and your muscles and body, not the bass. When I would go for lessons with my most recent teacher, I would play on his bass, with a very different string length from mine. When I played out of tune, I would say it was the string length throwing me, and he would say, if you can't play it on any bass, you don't know it well enough. And he was right, when I knew something well enough, I could play it on his bass.
What does this mean? I don't know. It seems that a lined board offers a certain instant gratification. The first day you play fretless, probably you will play more in tune with a lined bass. But in the end, they both require the same work to play well. I think that whatever board you choose, if you're not willing to put the effort in to play *really* in tune, maybe fretless isn't the instrument for you....
