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Fretlines: Am I nuts?
- Thread starter Bassmanbob
- Start date
Mojo-Man said:
My first fretless was a lined bass. I found that I was paying too much atention to the lines instead of the notes.
I played an unlined fretless sixer on Monday, and I found it so much more difficult. That could have also been because it was sixer 
. I find myself MUCH more comfortable with lines -- I don't even look at 'em 80% of the time, but I know that if I need 'em, they're there. You just kind of grow out of the absolute need after a while of fretless, and then only use them as a reference point.
. I find myself MUCH more comfortable with lines -- I don't even look at 'em 80% of the time, but I know that if I need 'em, they're there. You just kind of grow out of the absolute need after a while of fretless, and then only use them as a reference point.
I'd rather have them and not need them, than need them and not have them... You can always look away.
The whole eyes vs ears argument is nonsense IMNSHO.
No one can play a fretless bass well without developing good ears and using them, and this is every bit as true of lined players as of unlined players.
Conversely, all fretless bass players IME, except I guess for the blind ones (haven't met any yet), use visual guides to positioning at times--lines, half lines, side lines, position dots, or even just a look at the blank expanse of the FB. The idea that unlined players don't use their eyes is ridiculous, but no more so than the idea that lined players don't use their ears.
No one can play a fretless bass well without developing good ears and using them, and this is every bit as true of lined players as of unlined players.
Conversely, all fretless bass players IME, except I guess for the blind ones (haven't met any yet), use visual guides to positioning at times--lines, half lines, side lines, position dots, or even just a look at the blank expanse of the FB. The idea that unlined players don't use their eyes is ridiculous, but no more so than the idea that lined players don't use their ears.
Dittos here, but a word of caution...Bassmanbob said:
The catch 22 here is if you think you'll need them, then you'll need to see them clearly as well unless you're going to really stare at your fingerboard while you play (which most players don't like to do), and keep in mind this is exaccerbated under stage lighting conditions a lot of times (tho not a problem in the studio). Usually, if they're clearly enough visible to those who currently need them (my hand held up), they're visible to others.
I know at least one person who did this with a completely unreal F bass and had to sell it despite it's absolutely magical personality because he made them just a little bit too much "invisible".
FWIW...
- Aug 25, 2000
- 1,836
- 28
- 66
- Disclosures
- Endorsing Artist: Sadowsky Guitars
Richard Lindsey said:
Bravo!!!!!
Lined or unlined, the reality is that the vast majority of bass players who own a fretless bass have poor intonation ( and more like 100% of the cats who say they "play with their ears").
Craig Garfinkel said:
And the vast majority of violinists, cellists, URB have poor intionation as well?
Stick to frets.
What are you talking about?bmc said:And the vast majority of violinists, cellists, URB have poor intionation as well?
Stick to frets.
Craig said nothing at all about violinists, cellist, or URBists. We're talking about fretless bass guitarists here.
Richard Lindsey said:What are you talking about?
Maybe I misread his statement that fretless bass guitarists have poor intonation. I don't know the basis for such a claim. Is it because bass bass guitarists are incapable of acheiving good intonation? Is it because it's impossible to acheive good intonation on a fretless? I drew the comparison to other fretless instruments to point out the absurdity of his statement.
BTW...I'm in full agreement with your post on the reference points, be it lines, side dots. Fully agree with you. I play unlined, but depend heavily on side dots and reference spacing in between.
I had Jimmy Coppola build me fretless and this question came up over and over. In the end for me, the commercial world of music doesn't care how I play in tune, only that I do, and lines don't make me play more out of tune than I already do. Looking once in awhile certainly helps me, and nobody has ever told me not to. It certainly helps to have them there yet I am welcome to ignore them if I like. They work for me. I think they'd work for everybody else also.
yo Arnold does that have the Alleva-Coppola Pre in it? If so, how does it stack up to Aguilar or Sadowsky's pre's?
It does, can't say much about the aguilar cause I've never tried it (though I like their cabs). I have a 99 5 string sadowsky J-bass, and Jimmy's pre feels a bit more "boomy' to me, and that's a good thing. It's got a more "vintage" kind of sound to it. Of course my sadowsky is a maple board very 70's influenced and Jimmy's bass is much more 60's influenced. The sadowsky pre has a bit more bite to it. Both are awesome, and it's hard to make comparisons with the basses that are not very alike. I will step out on a limb here and say I've played 2 of the 3 5 string basses Jimmy made recently, and I will definitely buy one of these as my next bass, however I won't be selling the sadowsky. I've had engineers drooling over the Sadowsky's sound, active and passive, and that's always cool. I'm thinking even Jimmy's fretted maple neck 5 strings have a boomyness that my sadowsky doesn't have, but the sadowsky has incredible clarity. Are you more or less confused now?
j-raj said:
OK, this is probably the prettiest bass i have ever seen in my life. I would like to know how's the sound of that beauty. But it is a feast for my sore eyes.
Shomy said:
really? That's cool, thanks man!
Here is the brief run down of it...
:::guts:::
DiMarzio hot for Jazz P/ups
Aguilar OBP-1 Pre (18v)
LaBella Flats
Gotoh bridge and tuners
:::tone and feel:::
It is a very wooly and thick sounding bass. Very low action, but thick Warwick-like neck. Dark and moody tone without sounding muddy...Not a bright sounding bass, very much an upright growl and mwah (notes spread out nicely as they decay).
:::weight:::
Heavy like Lead!
*schuyler (cat who build this bass) is a TB'er so pop him a line and let him know what think... I'll find a way to get a clip or two online.
Fretless5erfan: Yes I saw your post. I was thinking about what is done on both Zon fretless and F Bass for their "side lines", but the ones that J-raj has are much thinner, would serve my purpose and would be less noticable.
Hey, I like that term for fretlines on the side of the neck:
"Sidelines"
Let's see if it catches on. (Unless there is already another name for it)
Hey, I like that term for fretlines on the side of the neck:
"Sidelines"
Let's see if it catches on. (Unless there is already another name for it)
I'm completely for the aesthetic benefits of having a unlined fingerboard but I have 26 fret positions on mine and things get a bit dicey intonation-wise when you're cruising at that altitude...so to speak - so I have lines on my fretless - but I do find them helpful - but I still LISTEN hard to what I'm playing for the intonation - it's not easy either way but I always say - why make your life harder than it has to be? It's what suits me - that's all.
M
<img src=http://www.munkio.com/music/basses%20&%20ting/webready/fretless_sun_full_small.jpg>
M
<img src=http://www.munkio.com/music/basses%20&%20ting/webready/fretless_sun_full_small.jpg>
