shut it down...the master has spoken
I confess to having only listened to 75% of the vid.
Two entirely separate things going on here.
First, TF points out that he is using visual marks - the dots on the side of the fretboard. Most of us do use visual marks on fretless bass guitar.
I have heard exactly one blind bassist playing fretless bass guitar with great intonation; so it can be done. But, I suspect the time required for that degree of muscle memory would deter many players. Still it is possible.
In any case, TF then describes chordal intonation. Now, don’t get me wrong; chordal intonation is a very significant part of ensemble play. Being aware that physical intonation positions are slightly off of pleasing chordal intonation(or tempering) is a very big deal. But, to implement that understanding on fretless bass guitar means that one has to use ears to adjust stop positions relative to the visual markers. Yup.
But, that is only thinly related, if at all, to where the visual markers are located. Whether the visual marker is on the fretboard edge or on the fingerboard surface, the stop position has to be adjusted by ear to obtain a pleasing chordal ensemble result. This is precisely the point of the Buzz Feiten tuning system on the fretted instruments.
That C# (3rd) of G, to which he refers) does get adjusted in a G chord. But, if the tune is in C#, instead of G, then the C# mark, wherever it may be, is good. The marks are irrelevant, except as reference.
So, I find TF’s logic to be slightly disconnected. The marks are just marks. It doesn’t matter where they are; the player has to be aware and play well. To this end, it is the player’s ears that matter, not where marks are located.
Couple other things:
First, it is important to note that Edgar Meyer has dots on the fingerboard of his 18th century upright; and in his Master classes, he explains how he uses them. I don’t have marks on the fingerboards of my upright basses; but, I also don’t perform the solo work, at which EM excels.
Second, marks on the fingerboard surface of fretless bass guitar without question assist rapid shifts into the upper register to be more accurate, when playing material, such as Bop heads etc. A simpler example is the bass break in Alright Now. Yes, ears matter; but, there are definitely parts which, (how would I put it?) require best accuracy faster. And what I mean is hitting “close enough” for the tempo of the line. And for that purpose, some kind of marks on the fingerboard surface without question are useful. Still have to use the ears. There are three aspects: mechanical, visual, and ears. They all matter.
Third, many inexperienced fretless players tend to simply translate their fretted fingering onto the fretless instrument. But, in many cases, this means targeting the space between where the frets would be. On a lined board, that approach leads to unacceptable intonation inaccuracy, and confuses the player because of the apparently misleading visual reference.
Fourth, I’m pretty tired of this argument. Much of it is perceived masculinity by having the appearance of a visually more distinct blank board, combined with confirmation bias; such as TF’s vid, which confuses two separate aspects. The audience can’t hear the visual marks wherever they are. So, the marks, wherever they may be on a given instrument are irrelevant, as long as the player delivers the goods. There are simply well played parts and not so well played parts. The point is that (obliquely) criticizing another player’s setup choices before the playing happens is foolish.
I know, TL;DR.
