Not in this case. Unless you’re starting out and learning classical guitar, the first form of an F chord you’re going to learn is xx3211. Or x03211 because there’s an A in an F major chord, but no one ever talks about that one.
There is a special sound to it (as mentioned in earlier posts, I plan on using it primarily for cool jazz walking bass lines), and it is really easy to play as long as you know your fretboard and have done loads of arpeggios and scales on a normal bass. In my first couple of weeks with the instrument I have found that it’s very easy to navigate, no fret buzz, and if you are slightly off, you hear it. You can use the open strings for a sanity check, but the other musicians are providing enough context.
Now, I have played in situations where I really couldn’t hear my bass, and that would be disastrous on the fretless.
We live in a truly amazing time. Thirty years ago everyone was limited to books and music store teachers, college courses, and pro teachers if that were appropriate.
Today we can find so many very well made videos that go over intimate details of technique, while still teaching a song in a fun way.
One pet peeve I have is that a large % of the people who make those videos spend half of the time showing off how blisteringly fast they are, and not enough time teaching the topic they have chosen. This stands out particularly in bass because our instrument is primarily a part of the rhythm section, tasked with delivering the mail on time every time, and there are tons of bass videos with metal shredders going at it in solos.
Cool handle–that song started playing immediately in my head as soon as I saw your name.
Actually my go to now is X3321X. The muting is the challenge, but it sounds best to me.
x03211 puts the 3rd (A) in the bass of an F Maj chord which is known as 1st inversion.
133211 or xx3211 keeps the F in the bass for F Maj.
I got your back —I’ll hit that low F for you on the bass 
Took the Carvin fretless bass on its first gig at church over the weekend!
Did a bouncy walking-bass to “Because He Lives” and it was beautiful.
I have now lowered the action and straightened the neck to make that “mwah” ring out to its fullest.
I didn’t have the courage to do the full service though, so I had a P-bass for everything else.
One of the most famous Martin dreadnaughts is #58957, a 1935 D-28 that was owned by Clarence White of the Kentucky Colonels and The Byrds, and is now owned by national treasure flatpicker Tony Rice.
Now, it has legendarily been beat to shit. The soundhole is enlarged so the end of the fingerboard sticks out into the soundhole (when Santa Cruz Guitars made their best-selling Tony Rice model, it had the same enlarged soundhole). It has been refinished, the top sanded down, all kinds of stuff. And Clarence White was known for his raking upstrokes, which led to pickwear above the bass strings.
You have to see this thing - here is a link to a thread on the Vintage Corner with a photo that captures the lighting perfectly on the top of this guitar: The Other Side Of Tony Rice's #58957 - The Unofficial Martin Guitar Forum
Man, that guitar has stories to tell. Many folks have reported playing it and not being able to get a good sound out of it - action was high and the neck has been thinned, I think. Certainly worked for them.
Bolding is mine. I can’t imagine what this guitar would look like if it hadn’t been refinished. 
Great photos Wordman. you can practically smell the stale cigarettes and beer. thanks for posting them.
It would be cool to find a photo of the Byrds playing it in a concert.
I also have a Washburn acoustic I bought about 5 years ago…WD45SCE. It was on the cheaper end, I don’t remember exactly, maybe ~$250 or so when I got it. Good guitar, and really good for the money, IMO. It played fine out of the box, so I’ve never even gotten around to getting a pro setup done on it; it would surely benefit some from one, but honestly it plays well as is so it hasn’t been a priority. Intonation is good, no buzzing, etc. Action is pretty low, but a setup could probably get it a bit lower, which would be nice, but again not a priority for me. Anyway, I like it and they might be worth checking out if you’re shopping in that range. If I need another acoustic I’d sure at least try out a Washburn when I see one.
EDIT: Might’ve been ~$350 or so. I don’t remember exactly; I do remember I was considering a Martin X-something-or-other, which was about $500-ish, and it was far less than that and I actually liked it better (I remember the Martins I played sounding way to “bright” for my taste).
Washburn is a very old brand. I think they’ve always focused on the lower end of the market. The ones I’ve played have a pretty good sound for the money. Online reviews of the WD7S are positive.
I’ve thought about buying a vintage Washburn. But even the ones made in the USA weren’t the best quality. I suspect most have warped tops or necks. Beginner guitars aren’t intended to last 60 years. 
I’m upgrading the tuners on my Washburn R320SWRK Parlor. The D and G string tuners stick. Can be very hard turning them. This is the older style, slotted head guitar. I bought a replacement set of Schaller from Allparts.that will fit. I’ve read that Schaller makes very good tuners.
Agreed. I know they make a range of stuff at all levels of the market, but you just hardly ever see or hear anything of them. A while back they had a lot of exposure from Nuno Bettencourt, but they seem to be a fairly low-key brand that just keeps on going somehow…they could stay in business another 100-something years and I wouldn’t be surprised, or they could fold up tomorrow and I could also say I saw it coming. No idea.
And yeah, at some point I’m going to need to upgrade/replace the tuners on mine, I think. Definitely one area that’s weak to keep the cost down. Mine don’t stick or slip, but the little plastic rings on the tuning knobs are breaking down and causing them to feel loose and about to fall apart, especially/mostly when changing strings. Schaller hardware should be good.
I was practicing a song a little while ago. Picking the melody. Suddenly realized I could pick it from inside the FMaj7 chord. All the notes were in there except the high D note (B string). my pinky can play that. Got a little excited because I’ve been struggling to play the last 5 bars accurately.
I find that I play more accurately by anchoring my hand into a chord and picking the melody. Like Silent Night. I pick almost entirely from inside a C chord. Its so much easier to move the 2nd finger from the E note, down a string for the A note while holding the chord. Or just lift a finger if the open string note is needed. Its fun figuring out the most efficient way to pick a melody without my fingers moving around a lot. Sometimes it is necessary to move out of the chord to play a bar or two. But I hold those chords when I can.
I don’t see that a lot with guys playing lead. They all up and down the neck with their fingers flying everywhere.
Just wondering what other players do? Do you anchor your hand in a chord or just play lead with individual notes?
I find that I’m drawn more and more to flat picking or carter style. Strumming and picking a little. I have to practice double stops later today. I find them tricky to play evenly.
Isn’t what you are describing just arpeggiating chords?
A lot of leads are accomplished by playing chords and partial chords up the neck and arpeggiating them. ??
I never learned to play with a pick and after 12 years still can’t use one. I can’t solo or play lead at all. Instead, the first thing I learned after the basic chord shapes was Travis picking and other alternating thumb stuff. I learned to play melodies by fitting them over the bass line like thisor this. When my left hand moves, it’s in some type of chord shape. I’ve never played in a band, but I’ve played solo in a couple weddings, so being able to play the bass and melody by myself is pretty neat.
Yeah I don’t think you can base a lead style around the notes in a chord alone. Going up (and down) the neck is what lead players have to do to create their story most of the time.
Lead playing are based on the chord of the moment and use the chord tones but the color came from the other notes.
Lead guitar is based on scales like all melodies. Everything else including whether to use them or stay in them, or violate them, is up to the circumstance and the player.
I guess what I’m doing is a type of arpeggiating. Except I only play a string or note if it follows the melody. I learn the melody from lead sheets that I buy from music notes. But the melody can often be figured out just by listening to the recording. It’s just quicker to buy the sheet music. 
I’ve bought some Carter style arrangements/lessons from a teacher on the web. It’s interesting how they work in the strumming. If there’s a half note, they’ll pick a quarter note and strum a quick dn/up. Or they’ll strum during any rests. Sometimes they’ll steal one of the melody quarter notes and strum a quick beat. The melody will still ring out pretty strong.
I’m learning the old Carter song Keep on the Sunny Side in that style. It’s a lot of fun and more interesting than just strumming chords.
heres the lesson demo
he also teaches more advanced flat picking lessons. Based on Doc Watson and Tony Rice’s styles. But, no where near as complicated as they played.
I’ll eventually start learning a few of these. But for now I’m learning the easier Carter style. Cross picking can get pretty involved.
[quote=“aceplace57, post:4401, topic:527172”]
I guess what I’m doing is a type of arpeggiating. Except I only play a string or note if it follows the melody. I learn the melody from lead sheets that I buy from music notes. But the melody can often be figured out just by listening to the recording. It’s just quicker to buy the sheet music.
I’ve bought some Carter style arrangements/lessons from a teacher on the web. It’s interesting how they work in the strumming. If there’s a half note, they’ll pick a quarter note and strum a quick dn/up. Or they’ll strum during any rests. Sometimes they’ll steal one of the melody quarter notes and strum a quick beat. The melody will still ring out pretty strong.
I’m learning the old Carter song Keep on the Sunny Side in that style. It’s a lot of fun and more interesting than just strumming chords.
heres the lesson demo
[/QUOTE]Check out Townes Van Zandt - Live at the Old Quarter