Munurmunuh

People have different levels of versatility: some people find making different styles of sound intriguing, enjoying the contrast; other people have a natural focus on finding the sound that gets closest to their ideal, and simply feel frustrated when playing an instrument that takes them a step away from that. I would love to own a Stingray, so long as I had a Bernard Edwards to play it for me

If I had been asked I would have guessed that normal headstocks were restricted to the CLF models and custom shop, but really its not something I've taken much notice of. I mean, I *like* that pointy headstock Edit - nothing mentioned here

Nice comparison video

The Fender site lists all three of the CV Ps as having a 1 11/16" nut (42.8mm rather than 41.3mm)

Something I enjoyed about the live performances from the 80s was how the early ish songs could take a significant amount of rearranging without losing their quality. Here's Primary from when they had an extended line up. PS when I was eighteen and having to get from Milan to Florence, I took a detour to the Rhone valley in France, just so I could visit the roman amphitheatre where the Cure had recorded their Live In Orange video 😁

If people want to hear a demo of the tones on this bass, the couple of minutes from from 2'40" goes through them in turn, including showing how much change in the tonal character of the MFD comes when the volume is turned down.

The first Squier you come across scrolling through the listings here is for £849 ..... without the benefit of knowledge, that's not a very useful piece of information

(excepting The Top and The Head On The Door in the mid 80s)

Here's a nice video of Simon Gallup playing to bassline to 'Cold' with his feet, and, only occasionally playing a high solo line on his Rickenbacker

I was surprised to read that awaiting release are both a Cure album and a Robert Smith solo album. I had had no idea that Robert Smith had ever self-identified as a collaborative musician, and had assumed that everything that ever appeared on a Cure release was pretty much what he wanted. Working on those two things at the same time sounds potentially messy, and, lo, a mess.

Since slow isn't always meant as a compliment, I like to think of the P-bass making me play with greater poise

It seems to me that nestling between rosewood and off-white is the only place tort looks really good

This looks so great.... and I'm enjoying imagining how it will sound.... and it's just dawned on me how jealous I am.... and how this mod needs to be on a 424X dammit

Last night I was trying to find a live recording of Back In The Village, and was surprised to find that Iron Maiden have never toured it. YouTube though did give me a terrible recording* of The Iron Maidens playing it, which was enough to make me think it would sound great live. So.... have you ever played it? (*meaning it was terribly recorded – beyond the sludge of sound there seemed to be a good performance. Certainly felt exciting!)

Weird, I normally don't like natural finishes, but that stripped back plywood is proving weirdly appealing to me 🙃 How does it sound, and how does the neck feel?

Hardwired: nothing compared to Dyers Eve The four of these six I've listened to so far: ditto So I'm not yet convinced that you've proved your thesis that I chose "a poor example". But I do still have two to go..... 😋

A band... equipment... space to rehearse... looks like heaven... 😊

What I find fascinating is the case of those examples of rock music which have clear roots in rock and roll, but which aren't light or fun or simple and definitely aren't easy to play, but which are – it seems – still dependent on youthful energy and naivety to come into existence. Metallica might have put a lot of deliberate effort into recreating their early style in the title track from Hardwired.... ....but does it get anywhere close to, say, Dyers Eve?

If I had those three basses, I wouldn't be playing it at all

The upside is that you will never have to fear that most devoted fans are desperately hoping for a return to the form of your early 20s, you can enjoy knowing that they will be simply appreciative of the consistency of your output over the years.

I'm thinking again what I said elsewhere yesterday, we can tell that your hands have an instinctive understanding of the sound of the SB-1 – there's no sense of your consciousness having to tell them how to produce what you're wanting, the colouring and the articulation feel natural and uninhibited, so the line is both smooth and characterful.

Jimmy Page, Houses of the Holy, 30th birthday, Physical Graffiti