Beer of the Bass

I haven't heard of this approach - the heel forms a physical landmark, and I feel like you can form an awareness of the spacing of positions in between the nut and heel fairly quickly. And precise intonation is still mostly about listening and muscle memory - markers will tend to help with getting the right note but not so much with getting that note in tune. I have used dots on the fingerboard face from the octave upwards from time to time, either stickers or marked with a white fabric marking pencil. Yeah, it's a crutch, but it can help build confidence up in thumb position and help nail things in fewer takes when recording.

If you're running into a distorted amp or pedals, certain intervals in equal tempered tuning give you particularly nasty sounding intermodulation. It's one of the reasons why root/fifth (no third) power chords caught on in rock music. If you do use any thirds or sixths, they sound sweeter if you adjust to approximate "just intonation" in the key you're playing in, and it's particularly noticeable with some gain. So my guess is that he would have been going for that.

I'm a little wary of the 432 thing because, while deciding you prefer a different pitch is quite harmless in itself, people rarely have just one unusual belief and once you open yourself to the conspiracy worldview, some of the ideas going around are a lot less benign.

Many of the faked '59-'60 sunburst Les Pauls are a little different from if you were to build forged instruments from scratch, I gather a lot of them are less valuable earlier 50s versions which have been re-worked. Not only did they start out as guitars made in the same factory in the same decade, but it's also been going on so long that many have genuine ageing and play wear too.

I had the J-Tone black rubber covered single wing pickup for several years, I'd say that as piezos go, it's one of the less fussy about running into ultra-high impedance. Straight into the 1Mohm input of a GK amp or most buffered tuner pedals was fine. Yes, an HPF, phase switch etc can help if you really need to push the volume and control any resulting feedback, but the pickup is fairly usable with most typical bass amps as-is.

I suppose a lot of players develop their playing styles around the E or G string being on the outside, particularly for pick players in heavier styles, or more old-school slap techniques. My bass guitar style transitioned to 5 smoothly enough, but I think I'd struggle adding a high C or low B to double bass.

Yeah, with hindsight, if I'd timed it right and moved some other gear around I could/should have done that. Always the way!

I suspect I would like those 5-string Rics a lot, they're the kind of spacing I like for a 5 string, they lose the anachronistic Ric metalware and I love the walnut/maple aesthetic. Bit out of budget for me though!

I'm thinking it's something to do with the difference between a plucked note and a bowed one. Plucking, the energy is applied the string in one burst and it's all decay from there. With the bow, there's continued energy input through the length of the note.

I recorded once with a very experienced producer/engineer who was absolutely insistent that the fundamental frequency on a double bass was one octave below the same string/position on bass guitar, on a session where I was playing double bass. It was a very strange experience, I eventually just kind of conceded so we could get on with things rather than pushing the point even though I know they're the same.

I brought my 5-string to a very 70s sounding band where the bassists on the first two albums were both short scale 4-string pick players. I wondered at first if it was appropriate, but it turns out no-one else in the band had even thought about it that way. My bass is passive and basically does what a Jazz bass does apart from the extra string, I use lower notes very sparingly and I'm running into an Ampeg. I'd say it works fine in that context. I probably could use a four string in that band, but I don't own a large number of basses, so if you want me and you want fretted electric, that's my bass.

My endpin is the larger diameter steel tube type, so the right diameter dowel slots right in. I tried both walnut and oak, I *think* they sound subtly different from each other, but the difference between wood and metal is the more noticeable, it's a little bigger sounding. The rubber stopper I used on the wood does like to wear through, so I only really bring out the wood pin if it's an unamped setting where I'm shooting for every last drop of projection available.

Probably more familiar as Gypsy Jazz, but many advocates for Traveller and Romani groups are encouraging people to move away from the word Gypsy. So Hot Club Jazz seems as good a name as any given that it originated with Rheinhardt and Grapelli's Hot Club quintet. Though I depped on a gig earlier in the year with a Romani guitarist who calls it Gypsy Jazz, and I was not about to correct him! I've just gone for the approach of showing up with the sound that I have (a more modern steel strung sound) and just trying to be stylistically appropriate within that, but if it was my full time gig I'd probably be looking at guts.

Do the 2012 remasters keep the original bass and drum tracks? Many of the 90s reissues quietly re-recorded parts that Zappa wasn't happy with, and I feel like while they're cleaner sounding, they miss some energy from the original releases. Hearing the original "We're Only In It For The Money" compared to my 90s reissue was particularly noticeable, just a weirder, more interesting sounding album all around before Zappas 90s "improvements".

Just realised I do this with my dog, with the first syllable lengthened. "Iiii - vor!"