My gripe is that all the method's sytems of fingering all suffer from a really hit or miss on perfect intonation. it's impossible to hit the string in the exact spot to produce a perfect pitch everytime on every note, no matter how skilled you are , just listen to gary peacock! I have therefore concluded the only sure way to reproduce perfect pitches everytime is to develope a system whereby u can be sure that the note is going to be perfect before you actually play it. i have looked at Simandl's, ray browns, Micheal Moore & Chuck Sher's but they all use a system based on Simandl's, although Chuck Sher's seems to be more linked to the bass guitar's. playing in the first position is fine, as probably is the second (its a small shift that u can programme your hand to remember), but then it gets dubias. Moore's system helps by thinking in terms of what note the first finger is over rather than what for example the 3rd finger is pressing, (ie the if you play C on the G string you think 'Bb' on your first finger (its a smaller gap to consider). this is okey until you get to 'D' on the g-string. Maybe im just being a perfectionist but is this the norm on double bass? bad intonation rules the day? Or is there a system for practising ie. to train your muscles in your body to move your hand and fingers of the exact spot that your minds ear wants you to play (after in fact you have trained your minds ear to hear in perfect pitch)??? surely not, help!