Munurmunuh

When I had Ps with .022 caps what I found was that they let more mids through when the tone was on 0% — the knob would remove the treble whilst leaving the meat intact. I've found that with rounds plus a pickup like a Dimarzio, a .022 cap is good; with flats plus an old fashioned alnico pickup, a .047 is good. I once had Dimarzio with a .047, and the sound with the tone turned to 0 was pretty dismal.

I had a bass that seemed to be without a dead spot. I then tried some completely different strings, and the dead spot suddenly revealed itself. When I went back to the original brand of strings, I could notice the dead spot if I really thought about it. Which usually I didn't. And yeah, 5th fret, G string. (The bass: BB424. The helpful strings: GHS Boomers. The unhelpful strings: Swing Bass)

Just noticed the notation in this bass cover. The song starts in E major, so has a key signature of 4 sharps. It then goes into Bb major. The software used to transcribe the tab or whatever into standard notation carries on attempting to keep to sharps, and so at the moment of Bb major invents a scale that goes A#, C, D, D#, F, G, A, A# - just meaningless dogshıt, dutifully copied and pasted into the video. Would some Grade 5 Theory helped Mr YouTuber at this point?

My Way. On every level. The music, the words, the performance, just junk all the way through.

An example of how conscious Radiohead are of what they're doing technically, an analysis of the rhythm of Pyramid Song: Like all these videos, it's a bit slow paced, but he does come up with the goodies.

I play with a gentle touch, and use strings that are responsive enough to still sound vibrant when only being tickled (50-110 rounds and 45-105 Chromes) I've tried La Bellas both in the FM and FL gauges, and both times I found that the real character of the strings only comes out when they're given a heavier touch than is usual for me. Without having any conscious intention, I found that my ears were urging my fingers on, that I found playing the La Bellas more tiring for my fingers. Perhaps something similar is happening for you?

G - B - C - Cm The relative minor of G major is E minor, so going G-B is a preparation for a nice V-i "perfect cadence" into E minor. Nothing unusual. From this perspective of E minor, the B-C is V-VI — a perfectly standard "interrupted cadence". Within the first three chords there's been a nice chromatic voice going d-d#-e — with the C-Cm, this then reverses, so you have d-d#-e-eb. This gives the four bars a nice looping round on itself quality. There's a probably a specific name for the Cm-G iv-I "plagal cadence" — eg I can think of pieces by Bach that end like that — but if I ever knew it, I've forgotten it. All these elements would make sense to someone doing A-level music. But I do think the theory is just explaining why it sounds good to us, rather than suggesting to the composer what should come next. Personally, I think that the important part, given that this is rock music, not classical music, is the inner voice with the chromatic steps looping round on itself, rising hopefully, falling plangently.

No it's not, it merely says "The neck has had its fretboard removed and replaced with a fretless ebony board".

This hasn't yet happened.

Me: how about I just put up with pain? Consultant: yeah fine No deterioration since the initial progression. The consultant, who I saw every 6 months for several years, eventually concluded (very tentatively) that the damage had been caused by iron overload (from my haemochromatosis) and that once that had been brought under control, no further damage was done.

Poor unloved Db

Ibuprofen is great for the pain, but terrible for your innards when used regularly.

I got psoriatic arthritis in my hands in my mid 30s. Unless you're up for the very strong drugs they can prescribe (pain in my hands seemed more attractive than their side effects) life for the hands is about evolving work-arounds. A pain slowly grows, your hand finds a way of operating that avoids that pain, slowly that pain decreases. And then your friends notice that you do things like unscrewing caps open in seemingly unusual ways. In terms of bass playing: eg my thumb objects to being pressed against the middle of the back of the neck, and so has found ways of moving around that gives the fingers the necessary opposing force whilst providing variety in the pressure it's put under; my middle finger dislikes lateral pressure so it quickly complains if it's put under any when I'm working out the fingering for something. There's always more than one way to skin a cat.

This thread is indicative of a country that would rather talk about their own opinions than engaging with the topic directly to hand. I'll be looking forward to seeing what they choose to do to restore this bass

This is my LB-100, I think I've had it about a year now. It's on its third pickup and second pickguard Ruby Red Metallic turns out to be quite dark in a sunless northern domestic environment, and the vintage tint neck turned out to be still quite a light tone. That combination with the original pearloid pg didn't hang together well. The replacement black pg brings the life out of the dark red finish, its a much more coherent look now, especially with the cream covers. I bought the bass to put a Dimarzio Model P and steel rounds on. It sounded exactly as hoped, and the very low action made it very easy to play. Unfortunately, it felt a bit soulless. During a period of experimentation I discovered that the bass comes to life with flats. I also came across a demo of Chromes with a Fralin pickup and thought: that's exactly the sound I'm after. So off came the Dimarzio, and in came this stock-wind Fralin. The Chromes are 45-65-85-105, about the same tension and feel as 50-70-90-110 Rotosounds, but that low action means they're still comfortable to play. I've another G&L, which is spending the winter in California, getting a new neck — the truss rod wasn't doing the job, so the neck was gradually getting more bent.

The world's not gone anything, some people with more money than they need have transfered some of it to someone else with more money than they need. As Jesus didn't quite say, the rich are always with us.

Thank heavens the ignorant gossip of a small crowd on an internet forum does prove that you are a racist

Years ago I concluded that the definition of a musician was someone who likes travelling.

Presumably getting them as close to their traditional spots as possible:

Me.

(Firstly of adding, the ergonomics of each bass makes a difference to the perception of the bass, eg my Yamaha BB felt much heavier than my Squier P, though they were the same weight: presumably the different ways they hung around me applied the weight in different places) It's what you're used to. I've two G&Ls made from Empress. When I first got them, they seemed incredibly light, and my knackered left shoulder was very grateful. Now, though, as I know nothing else, they both seem normal. The 7.2 lb bass is the heavy one, the 7.0 lb bass is the light one. (I suspect that ergonomics are again affecting my perception, as they have slightly different bodies, despite both being Leo Fender designed P basses.)

Bass, Treble, Ultratreble™️