bassman7755

Generally our free market system ensures that when you pay more, you get more (amount/quality/whatever), I think the problem with electric guitars and basses in particular is the amount of mystique and folklore around various things like supposed tone woods and what not which makes it hard to know whether the more expensive thing is objectively better.

I think the argument is not that you arn't getting value for money in terms of input time and materials but rather that the actual sound and playability improvements you get from these expensive nice-to-have bits and bobs generally just not in proportion to the extra cost (by quite some distance usually).

I agree with the general premise that anything over £500 or thereabouts is mostly vanity but if people want to spend thousands on an exotic looking bass which gives them pleasure to look at then theres no harm in that is there. There are some exceptions though for example a graphite neck which has a way more uniform response than any wooden neck is going to add another £500 to your base cost. Given the choice I would never play another wooden neck bass again but there are other logistic and cost factors at play.

Thats not what I'm hearing, also if you watch the bass player in the video @33 seconds in ... ... looks to me like hes playing the high F# then moving down for the next note. Good spot on the timing though - it would be seriously challenging to play the octaves as 16th notes at that tempo.

Its awkward to play because (IMO) the score is wrong, assuming your trying to play it exactly as written (see above)

For a start I think the score is actually wrong - the F# at the start of verse bar 2 (number 10 on score) is an octave higher at least to my ears on the recording. The pattern is, unsurprisingly, much less awkward when you start it with 9th fret A string / 11th G.

The basic design of FET overdrive circuits dates back to the original Tech 21 sans amp released in the 80's, compare and contrast for example with a zoom muli effects pedal which needs thousands of hours of software development, analysis of modelled circuits etc, contains more expensive components (needs actual processing power) and sells for a fraction of the price ??. So no I don't buy the R&D cost and general business overheads argument.

Does make me wonder though how DG Tech21 and various other boutique pedal continue to get away with charging £250+ for fet circuits with generously £10 worth of components in them, its some kind of weird failure of the free market to bring the prices down.

I've auditioned for some dreadful bands over the years, notable incidents include the keyboard player who could only play in C/Am and had to use the transpose feature on the keyboard to play in any other key.

I play extended chromatic runs playing alternate 3 notes then 6 notes (in two groups of 3 i.e. 1-2-3-slide-1-2-3) per string, so all 3 note groups using 1-2-3 fingering. I find this less awkward that doing 1-2-3-4-slide-4 (or 1-slide-1-2-3-4) on each string. Probably the only person in the world who does it that way 😉. My rationale for doing it this is way that the classic way means you are sliding immediately before/after changing string where as with my way the slide is mid run albeit 3 frets instead of 1 ..

The SR505 is a pretty decent instrument, solid build quality, good hardware, 3 band active EQ, split coil pickups etc etc you've probably already reached the point of diminishing returns in terms of overall bass tone, versatility and playability, not sure why your dead set on treating it as a disposable starter instrument.

You are fine, the aspersions bit was aimed at others

Discussing rule changes due to brexit is a discussion of adjective reality and fair game (like this post). However (IMO) discussing the wider merits of brexit and the casting aspersions on those who may or may or not have voted for is political incitement and crosses a line.

flip off with your political cow poop

I think you are overegging the difficulty. If you can sing/hum/whistle with reasonable intonation (which the vast majority of people can) then you can learn to intonate a non fretted stringed instrument as evidenced by the millions of school children over hundreds of years who manage to learn to play various stringed instruments with decent intonation without recourse to electronic tuners and visual aids.

Ah didn't realise you could use the phone do it but I bought some magnetic counter thingy off ebay for a few quid that will do the job.

Thanks for the offer, for now I'm going to 3d print some bobbin ends with the correct hole spacing and see how that goes (I've already bought a bunch of pole pieces)

Yeah I think I must have misunderstood the concept, it was probably just a plain old coil tap.

UFOs only you can rock me ... Possibly also the worst rhythm guitar sound ever as a bonus.

When you say true temperament do you mean Just tuning as per https://pages.mtu.edu/~suits/scales.html ?. I see that the Just b3 is slightly sharp and the 3rd slightly flat compared to even tempered. I can defiantly feel my tendency to slightly sharpen the b3 and flatten the 3rd, I guess the origins of blues is people feeling that same pull.

No problem with IEMs. Anyway general advice to the OP on getting good intonation - if you can whistle or hum in tune then you can play fretless with good intonation, you just have to train your fingers to subconsciously adjust to the correct pitch in the same way that your mouth or vocal chords do. One way is to be very slow and deliberate: play an open string then try to play an in-tune easy interval e.g. a 4th (5th "fret") or 5th (7th fret), if/when it sounds out of tune don't just randomly move your finger up and down but try to hear if its flat or sharp, make a small correction and see it gets better or worse, repeat until the note is in tune. Once you get the note in tune try deliberately flattening it and sharpening it so you get familiar with the sound. Add the other intervals over time, I suggest all the major notes then add minor 7th/6th/3rd then b5 and b2 last. Once you can play a full octave chromatic scale on one string over the open note your laughing. EDIT: just to add that I sometimes find it particularly difficult to accurately pitch a b3 because theres so much deliberate abuse of the distinction of b3 and 3 in a lot of rock and blues - it seems that pretty much any midway point sounds OK to me because I'm so used to hearing the deliberate abuse of the distinction in a lot of rock and blues. The short version is that we can generally all already hear when something is "out of tune" pretty easily, the trick is that you have to train yourself to discrimination sharp from flat. The exercise above is what worked for me. Eventually it becomes second nature and your fingers develop "ears" and just home in on the right spot. Would definitely advise against using visual aids and tuners (but people do and get by with it so ...).

No way, in my opinion, is this going to compete with two loud guitar amps (and I say this as someone who has one ...).

Its kind of online chat etiquette that you dont vandalise threads by editing your original posts so noone has any idea what the discussion was about.

Yes this is the accounting viewpoint - a used bass does not "cost" you anything its a capital asset purchase so your personal balance sheet remains unchanged no matter how many bases you buy 😁

The TC RH450 is also absent any fan noise.