Dad3353

Good morning, Rich, and ... Plenty to read and amuse you here, and lots to learn and share.

The 'skunk stripe' is a sliver of wood covering the slot routed out of the neck to allow for insertion of the truss rod. Not all Fender guitars and basses have their truss rod inserted in that fashion; they would have the slot routed out under the fingerboard, before it's glued up. It's not an aesthetic stripe; it's part of the way the instrument was manufactured. Just sayin'.

I can't agree with that. There are some excellent methods out there, on theory, technique and/or composition/harmony, plus transcriptions of 'greats'. Not to say that listening isn't useful (it is...); reading (or rather: 'studying'...) has its place too.

Weld one. Is that an electric guitar..? What bright spark thought that one up..? There's maybe a grounding problem to be sorted. Any good for metal..?

Good morning, Josh , and ... Plenty to read and amuse you here, and lots to learn and share.

Good evening, DB, and ... Plenty to read and amuse you here, and lots to learn and share.

In that case, if it's unavoidable, best embrace it as a 'feature', and take reassurance every time one's thumb feels it, by thinking 'Ah, yes, it's still there..! Good..!'. Make a 'positive' of it.

Wouldn't a bit of sandpaper fix any perceived issue..?

Full Range Flat Response, such as a (good...) PA cab, or HiFi cab.

Good evening, Ghettoshred, and ... Plenty to read and amuse you here, and lots to learn and share.

There's a niche market opportunity for making pedals for lefties, then, surely..?

Good morning, B.E.M., and ... Plenty to read and amuse you here, and lots to learn and share. Burns Bison, eh..? That brings back memories from long, long ago..! I understand the sense of loss; it will fade, but never completely disappear. The Marketplace is the resource you need for off-loading/acquiring gear; read through the T & Cs of course (see my signature...). So far you've 'done it right' right enough.

It might not look so good now, but they'll grow on you.

I think there's some confusion over 'Geezer' v 'geezer'..!

Not that will admit to it.

Maybe not if already steeped in the current system, but if starting from scratch, one would play the note written, each and every time. It's a bit like reforming spelling. We (the Old Folks...) are quite used to the anomalies, but how to explain the logic behind the pronunciation of Cholmondeley, for instance..? Those 'in the know' find it to be instinctive, but it's daft, really. Still, I'll be thanked for the idea only posthumously, I fear.

I still stubbornly maintain that it would have been better to have each note with its own unique name, and forget about accidental altogether. It's only for historic reasons that we keep the old 'C', 'C#' thing, in the same way as we continue to use typewriter keyboards on computers. One day it will all be rationalised; it's just either a little too soon or a little too late.

Indeed, and they're played and sound the same, too.

Not really, for Mortals; it's just a fancy way of complicating things in an esoteric fashion, used by a few dilettantes. One can say that the key of 'C' is also the key of B# (which is true, but not really useful to most folks...). If one goes into double # and double b, we can create 30 keys (so 'C' can also be Dbb, for instance...). There's no great reason to stop there, though; go the whole hog and use triple, quadruple etc # and b, so that 'C' can be Bbbbbbbbbbb. Ignore it; just use 12 keys; many musicians don't even use all of those..! Just my tuppence-worth, subject to correction, completion and/or contradiction from others.

My point, such as it was, was exactly that. String spacing is only a factor for some folks, not all, as is demonstrated by the playing equally well, and with equal comfort, instruments with very different spacings, of which I listed a few. Some folks (yourself included, it would appear...) prefer to find the spacing the same; others just play whatever the instrument has, and adapt their technique to that. For my part, I've never even thought to measure the spacing on any of my basses or guitars, and if I have to play someone else's drums, I seldom find it necessary to raise or lower the snare. I just go with whatever's there, and change accordingly (within limits, of course...). Maybe I'm just not fussy..? No big deal, no criticism; merely an observation.

I had to stop, I wasn't eating, losing sleep, halitosis, the whole thing. I feel better now, but I still take the tablets that nice young lady gives me each morning. Sometimes I even get dressed, now.

Good evening, HH, and ... Plenty to read and amuse you here, and lots to learn and share. (But you knew that anyway, didn't you..? )

So you don't play the mandolin, then..? Some folks are quite happy to adapt and 'go with the flow', others like to find things exactly the same (to the point, occasionally, to manic OCD in extreme cases...). It matters, then, to some, and not at al, or not much, to others. Going from guitar to bass to db to banjo means one can't have identical set-ups, and many do that without tears . Different folks; different strokes..?