Originally Posted by angus
There's nothing "not right" about what he said- frankly, having seen and taught lots of bass players, guys who play with lines tend to use them as a crutch for way too long and have far less developed sense of intonation than unlined players. Of course you have to adapt and intonate, but I've found that lined players don't do this very well because most have ears so bad that they don't even realize that X line is actually not very in tune.
Either one is fine, but the learning curve on an unlined is much smaller than you think (with exception to in the higher registers, but all fretless players suck there for a long time) and they tend to pay significantly more attention to developing their ear than lined players.
Quoting Willis isn't a good strategy either- he is ABSOLUTELY resolute that his opinions on fretless are the gospel. I don't mind, because I love his playing and have taken lessons from him in the past, but I wouldn't call him an objective party.
Originally Posted by deevit
I was not referring to Willis as an objective pary. I just quoted him to show that even the best fretless players use lined fretless basses. A lot of people seem to think lined basses are less worthy or less proffesional or something and that's something I tried to keer out here.
And saying that lines are against the idea of fretless bass really is wrong IMO. Either with or without them, the player has to make the intonation. And especially above the 12th fret they really help (to be honest, most unlined players are really false up there). The way of intonating on the lines is different high up the neck too. I'm quite sure that I would play false as hell above the octave on an unlined bass, but with my lined bass I'm doing quite well.
Yeah, just think about all all those other fretless instruments of the past with lines like violin, viola, oud, shamisen, cello, doublebass...
As for the second bolded bit
Originally Posted by angus
but all fretless players suck there for a long time) and they tend to pay significantly more attention to developing their ear than lined players.
Anyone can look a t line, but it takes practice to be able to hit those notes spot on without them (duh). "Either with or without them, the player has to make the intonation" Yeah, once again, duh, but who is the more talented and well versed player, the one who can look at lines and touch near/on them, or the one who can find the notes by ear or through the feel of the instrument?
One other thought, the lines most certainly ARE against the idea of the fretless if one plans to use them for something like twelve tone composition. At least in that knowing the layout off a standard fretboard won't be of too much help, imo for whatever that's worth.
The side dots are better indicators of the basic note layout on the board for my taste. Plus I just think that unlined looks nicer.
I'm not trying to be as combative as this reads to me.
Just don't hate