tauzero

My Hohner is natural finish - that way the paint doesn't get chipped (although a bit of lacquer has got knocked off one of the corners. Damn).

You really need to let it go. This way lies madness.

I've got about half a dozen. One suede-backed one for the 10-string, to solve the neck dive, another leather one with bits of metal on it, a couple with dragons on them, one black one with red patterns for the Esh Poseidon (the odd shape means that one of the straplocks has to be back to front), and one which is the same pattern as the bassist in the band I'm in a tribute for always wears.

That falls down when you consider that the voice is an instrument, therefore everybody except someone mute from birth is a musician.

I like her voice on this track - not keen on either the bass sound or the track itself, I kept expecting it to resolve out of the dissonant parts into a coherent chorus but the chorus was just as dissonant, then when it hit the widdly middle 8 I lost the will to continue.

Stops just below 12k for me, which is higher pitched than my tinnitus. I'm 61 so probably in line with expectation. Don't wear hearing protection with bands but I do when motorcycling.

The tribute band I'm in used to tune down a semitone to help the male singer. But one of the songs, the original band now play tuned down a tone so we also did it down a tone. However, that in the original key featured a bottom E, which became a D below E, which, as we were playing a semitone down, became an Eb, which I was trying to work out how to play. The bassist in the band that we're tributing simply used another bass tuned down a tone - my options were a D-tuner which would have been weird, a pitch shifter which would have worked at the cost of bass tone, or a spare bass. Then we got a female singer and put everything back to original keys, which helped an awful lot and meant I didn't have to either use my spare bass or justify the purchase of another Warwick (for authenticity). I suppose I could have used a five-string but the bassist in question doesn't.

I think the sarcasm may have escaped you. Look at the first post on page 6. If an instrument looks tatty, I see no reason whatsoever not to have it refinished. Still, I avoid the issue by avoiding painted instruments, and taking reasonable care of my basses.

Suggesting it. On BC.

How can you possibly suggest a refin?

That was exactly the problem with some tracks I was trying to play a month or two ago. After reading the bit in the manual that says they've got to be 44.1, I loaded them into Audacity and changed the project sampling rate (bottom left of the window) from 48 to 44.1.

Our guitarist is a retired tax inspector.

Neck on the B2AV is 45mm but neck size isn't just about width, it's depth too.

I'm a motorcyclist but I don't make my living from it. I might have an advanced qualification in it but that doesn't make me any more of a motorcyclist than someone who'd doing their CBT. So I think I'm probably a musician, as I can play a coherent tune on an instrument of my choice. I can't read dots and I know a little bit of musical theory, but I have written songs. If you think that calling yourself a musician denigrates those who have years of training - what is the threshold for being a musician?

And my Antoniotsai 5-strings. And my Sei 5-strings. And the Peavey Grind 5-string.

It's quite a while ago that I had an XT25. I think the XT25 was slightly slimmer. It also felt really, really rigid.

As four-string necks go, the B2 is quite skinny. As five-string necks go, the Jack is quite chubby. If you find an equivalently skinny 5-string neck, you'll be happier. I have a B2AV, same neck profile as the Jack 4, and while it's perfectly usable, I only have it as a very compact back-up bass.

It's about making some more money for Kevin Rowland.

https://www.theguardian.com/music/2012/mar/27/jocky-wilson-other-rock-myths

You need one if you're playing below bottom E and don't want to tune to other than EADG or use octavers/pitch shifters. You use one if your bass is equipped with one and you use it. I use it on trad music for ceilidhs, reggae, rock, pop, and jazz.

At the complete opposite end of the scale, why is it that people have a problem with instruments being refinished?

Just popped in there. The layout seems oddly familiar.

And that's unlikely to change 😁

It seems a lot of us have played there - I played a ceilidh there about ten years ago.

Hit things at the right speed and stay at the right speed. Get the right feel for the basic beat. Put in fills as appropriate and come back out of them in the right place. Creativity is going to depend on the situation - I'd like to play with the drummer that I play with in the Marillion tribute band in a more flexible situation (covers or originals), but we're trying to be faithful to the original. Almost all the drummers I've played with have been good. Currently I'm with the above tribute, an originals band whose drummer was originally the slide guitarist but finished up drumming after the previous drummer threw his toys out of the pram, and an eclectic covers band with a cajon player. Although they're wildly differing, I haven't got any problems playing with any of them - see sentences one to three in my first paragraph. A couple of years ago, the covers band I was in underwent a series of drummer changes. All other personnel remained the same. It was interesting playing with three different drummers over three or four years, the first being a rock drummer, the second with more of a soul background, and the third being rock and prog. All three adapted well to the music (rock and power pop with the odd bit of soul) and did the speed right, got the right feel, and put in appropriate fills, but were by no means clones of each other. I could definitely tell them apart, but I really couldn't rank them in order of preference. Other things which drummers should do - when rehearsing, don't keep bloody hitting things between songs. Get to gigs nice and early to set up.