More guitar/bass talk:

I was pondering taking the nice Carvin bass Dan South give me and putting a fretless neck on it. So, then I got to thinking: "I wonder what a fretless with flatwounds would sound like. That would have to be super smooth and open to some stylistic voodoo...(end thought, proceed to google to get info)"

I found this on a page for some Sadowski bass strings:

So, I'm like .

I'm thinking yeah, that's what I need. I know fretless takes a bit more skill, but I think with my ear and some practice, I could get it going on.

Any ideas?

I had a fretless for awhile. I ended up selling it. At first it was such a blast to do the slides and shakes, but then I made the mistake of listening back to some parts I recorded. Ouch, major out of tune in places. It's a lot harder than it looks although I've jammed on the big upright string basses a few times and they come easier than a regular electric bass to me.

Yeah, I had one and ended up selling it, but this was years ago. And I was a beginner and didn't play it. I recall buying it because I thought it was "cool" when I saw it. (GAS, go figure...) It was one of those $150 used deals. None the less, I do know that it took a very precise hand to play it and have it sound worth a damn.

Maybe I could just make it a point to get Melodyne or something...

I bought one (frettless) and it sat in disuse until a friend asked me to play bass for him. He plays classical guitar, parties, street fairs, weddings, etc. and some customers wanted a duo for more energetic settings. So I took on the task of learning jazz standards, italian, brazilian songs. I don't know when it happened, but I learned to play in tune without thinking too hard about it.

Stranger, I have a suggestion for you; My bass fretboard was slotted for frets, but instead of frets, thin slices of maple fill the slots. That's a big help when it comes to playing in tune. Instead of buying a new frettless neck, I wonder what it would cost to have a luthier put in wood slices?

I've had a fretless in my stable for most of the 30 odd years that I've been playing. My current is a MIM Jazz that's nowhere near stock. I go back and forth between rounds and flats on it. With flats, you'll get a little less of the classic "mwah" sound that is characteristic of a fretless. But you'll also get a lot less wear on the fingerboard. Strings can also make a big difference in both feel and sound. My preference happens to be Thomastik-Infeld Jazz Flats. YMMV. Setup is also more critical on a fretless. Minute changes in string height and relief can have big effects on tone and/or sustain. But once you have a setup that works for you, they can be a lot of fun. And if some purist makes fun of your fretlines, just point and laugh at his shoes or haircut.

A Carvin bolt on neck is only $170. I don't think they would charge you extra to leave the frets off. Just keep the fretted neck so you have both options.

I tend to use flats on my fretless. I prefer the sound. After you get okay on fretless then you have to work hard to make sure you don't end up sounding like Nick Karn in Dali's Car. Fretless slides, slurs and trills are definitely some of those just because you can, doesn't mean you should sorts of things.

I have kept bumpy strings on my Hamer Cruisebass, trying to maximize the mwah (good term, that) and it does sorta chew up the ebony. Do you guys think that flats would have a more acoustic-like sound?

Damn, I love what Mick (not Nick) does on that song, though.

Damn, I love what Mick (not Nick) does on that song, though.

Oops, right you are, cooter! I actually looked it up, since I wasn't sure if you spelled Karn with a C or a K... apparently I didn't look hard enough.

For clarification, I'm referring to the band with Peter Murphy (then late of Bauhaus), not the song on Captain Beefheart's wonderful Trout Mask Replica album. (The only album by Dali's Car, The Waking Hour, also has a song called Dali's Car, but it's written by Karn and Murphy.)

I saw Karn with Bill Bruford and David Torn back in the 80s or maybe early 90s. Some kinda rhythm section.

Oh yeah. It's like a bit aged, so I'd keep it. Plus, it was a gift. I just figured swapping the bolt on would be cool. I'm just thinking though that it might be a set neck...I think it is. It's been chillin' in the case for a while. I'll check in the morning and report back.

Still want that Motown sound, though.

Actually, I just want one of these:

http://bass-guitars.musiciansfriend.com/product/Fender-Standard-Jazz-Bass?sku=501169

Sheesh, here's a Rogue for $119!

http://bass-guitars.musiciansfriend.com/product/Rogue-LX200BF-Fretless-Series-II-Bass-?sku=512226

$2429.99

http://bass-guitars.musiciansfriend.com/product/Fender-Victor-Bailey-4String-Fretless-Jazz-Bass?sku=511958

It's a showdown between the Fender and The Rogue. Maybe in next month's Bass Player.

It would be a cool showdown with the right bass player. Fender might be mad, though. Unless they own Rogue.

I doubt it's a set neck. If it's not a bolt on, it's probably a neck through. So, your only option would probably be to have the frets pulled.

They can sound somewhat like an acoustic. There's more than just string type involved, like eq, pick-ups, and right hand position. Not to mention picking technique. Lotsa variables.

I'm willing to try all the hand stuff and picky techniques, but I can't easily get 30 years of experience. I'm up to about 6, and that's not full time.

Anyhoo, I play this frettless through some SWR amps, and the sound is pretty natural, organic, even. I feel fine playing with acoustic instruments. So maybe I can sound even organicer...er, more organic... with flats. I'd miss Mr. mwah, though.

I just ordered a Rogue violin bass for my sweetie as she's thinking of taking up bass and of course added a set of flatwounds to the order. My fretless was a Rogue and was a very playable descent instrument.

Mr. mwah won't go away completely. He'll just develop a newfound shyness. It'll take a bit more coaxing to get him to show himself. Try picking up above the fingerboard instead of over the pups. Lots more woodiness to be found up there. Just like there's a lot more bark and bite down by the bridge.

Hey Stranger! Here's my take. In your op you add the quote from Sadowski:

Superb on fretless basses of for that classic Motown sound.

And as I'm sure you are aware, neither of the Motown bassists used a fretless. Now, if you have some burning artistic desire to add the fretless vibe to your arsenal of musical colors, by all means go for it. But as Blue mentioned, you might do well to avoid the clich

Actually, I wasn't. That's why I came here.

Now, if you have some burning artistic desire to add the fretless vibe to your arsenal of musical colors, by all means go for it. But as Blue mentioned, you might do well to avoid the clich

I see that the flatwounds have a lot of variety and such. Stainless, chrome, etc...

What's the skinny on all these different variations?

I recorded a guy a long time ago with a fretless bass for his band. Great sense of time and fantastic control of his dynamics. However, he frequently went into these odd "solos" or creative forays that would leave the bottom end unattended. And there were slight tuning problems that would sound a little odd as well.

I am new to flats so I don't have any comprehensive knowledge of the different types but I have used the Rotosound black tape wound strings. TruBass. Actually, I used them a lot in the early 80's for a Bruce Thomas Attractions sound. Great strings.

I've used the GHS Precision Flatwounds. I like the lites actually because flats are pretty stiff so the lighter gauge seems to work for me. However, you won't get that plectrum, Carol Kaye, Good Vibrations sound with these. You'll need the regular gauge for that kind of picked, 60's sound.

But those GHS Precision Flats sound like Motown to me. But I'm sure there are guys that know a lot more about the different strings. I have heard good things about the Fenders and the old traditional La Bellas as well...