Dad3353

... who were giving a nominal nod and tribute to the 'scroll' headstock of acoustic double basses and violins etc.

Let's Talk About Progressive Rock... Is this not an oxymoron..? ...

That's probably not quite as useless as resistance (or impedance..?) on its own, but I still think that the best choice is made with the ears. Sometimes it takes a few goes to get that choice right, of course; it's what we call, technically, 'experience', which is something that can never be taught, nor transferred. Just sayin'.

Here you go; fill your boots... Seymour Duncan Pick-up comparison chart ... Other p/u makers exist...

Wisdom..? You want wisdom, too..? You're a hard one to please. In theory, and as a general 'rule of thumb', the higher the resistance of a pick-up, the 'hotter' the output, but, as SD states in the link above, it's not that simple. Electrically, the longer the wire used for the coils (equates to number of winds...), the higher the resistance, and the thinner the wire (no way of knowing what gauge the wire is, generally...), the greater the resistance, for the same length. Soooooo... Thin wire with few winds could be high resistance; thicker wire with fewer winds could be the same resistance. The output would be different, however. The resistance, as a measure, and on its own, does not, therefore, tell us much. It could be useful when testing two pick-ups from the same maker, but even then, only as a guide. What is the real reason for the question, though..? Are you looking at any specific pick-up related issue..?

Short answer : Yes. ... A bit more serious... Seymour Duncan on guitar pick-ups ... '...What is guitar pickup resistance? Many believe that a pickup’s resistance directly correlates to its output. The higher the number, the hotter the pickup, right? Not necessarily. A pickup’s resistance is actually a measure of how hard the current has to work to get through the wire coils. But more windings (which usually means higher output) also means higher resistance. Therefore, people often equate the two. In reality, it’s not that simple. A host of variables determines a pickup’s output. These include magnet material, gauss (magnet strength), wire material, and the number of coil winds. So, a pickup with a strong magnet can still have lower resistance and plenty of output. Likewise, another will deliver low output, yet yield a higher resistance. A pickup’s resistance is only important when considering all these other factors. Therefore, measuring a pickup’s resistance is a diagnostic tool to help confirm your pickup’s health. It does not solely determine its performance characteristics and output. ...'

At its conception, tuners suitable for mounting below the bridge had not been invented; the 'standard' way of tuning, inherited from acoustic instruments of the time, was at the nut end. The Fender headstock was even a nominal nod and tribute to the 'scroll' headstock of acoustic double basses. The mechanics suitable, strong enough and reliable enough for headless didn't come until much later.

In that case, the answer seems to be 'No'.

If it's the basic shape you're after, there are other sources than Fender... Rondo 6--string 'jazz' bass ... I have one of these (fretless...); they're very good.

Both of them..? ...

... and given the circumstances, it's really not that bad at all..! You yourself have played worse (often..!)..! (OK, not the tubas..! ...)

And rightly, of course, but it does serve to illustrate just how difficult it is for Common Mortals to work with this stuff. The virtuoses that do this properly are to be all the more appreciated.

Mmm... Tea..!

Apprehensive, checking under the bed. Serious answer.

No need, I have Lenny for that.

What utter claptrap..!

Not really; I expect it just sets off the 'search' again, being a dynamic function without static results. Just a guess, though.

Waiting for the next post in six hours time, when you wake up in your armchair, having missed it all. ...

Open the page in a new tab (or window, if you prefer, but I do 'tab'...). When finished perusing, just close that tab (or window...). Hope that helps.

... and Adolf had a military career (of sorts...), for a while. None of the above is gospel; Luck and Life play a part, whatever ...

No, not quite. I'll take the standard 'quarter note' (I call 'em crochets, but I'm old, so...), and count, as you said, as '1 2 3 4 ...'. For eighth notes, I'd count '1 and 2 and 3 and 4 and ...'. Sixteenths become a bit more tricky, but the principle is the same, with 1 uh and uh 2 uh and uh 3 uh and uh 4 uh and uh ...'. Try it out at 60 bpm (so 1 2 3 4 at 1 second intervals...). Repeat, at the same tempo, still with the 1 2 3 4 at second intervals, but with the 'and' interjection. Once that's done, do the same with sixteenths (you may want to slow the metronome down a little at first, though; it's not that simple for the tongue and respiration...). There, that's all there is to that. Next week: triplets and paradiddles...

It will help if you've a reference 'One' whilst you're playing. Either a metronome with a strong 'One', or a steady 'reggae-style' bass loop to lock onto. That's only 'training wheels' until it sinks in (see encouraging footnote ...). You can also try counting it differently, with something like 'one BOOM three four one BOOM three four...' in your head (or out loud, bugger 'em...). With a metronome, that becomes TIC BOOM tic toc TIC BOOM tic toc. The important thing is to 'feel' the 'One', despite not playing it. Encouraging footnote (which applies equally to many, many things in Life...) ... It's the first forty years that are the hardest, after which things sometimes tend to get slightly easier.

You do know what a quarter and an eighth of a cake are though..? It's exactly the same for notes.