leftybassman392

That’s absolutely fine with me. I never said I didn’t like such music. I could quote plenty of singers I don’t consider good singers but whose music I like anyway. As examples, Dylan and Yorke spring to mind (not to mention any number of old-school blues shouters). That said, this thread is for people who are good singers. As I said up top, style and content are less important than technical and expressive skill (in this thread at least). The quality and variety of music on offer here is, I hope, a vindication of that brief.

Couple more from me: First off, Bonnie Raitt. Bit of a personal favourite, this: Enya. I'm not really a fan of her style, but she can certainly sing. This was released as a single at about the same time as Bros did the most godawful tacky take on the song that you could ever wish to inflict on anybody:

Sounded good through my £250 in-ears. 👍

Time for another one from me. I'm also a fan of the female voice. I've done a lot of work with a succession of very talented young female singers over the years. Acoustic guitar-and-vocal duets remain one of my favourite formats. Not quite a duet (and one of the cheesier songs in the repertoire), but close enough:

For the avoidance of doubt, multiple songs by the same artist are fine. Just don't post the entire back catalogue, ok?

I refuse to dignify that with a respo... Oh wait!

Twerp! Not really.

Oh dear! I've run out of 'likes'! Please don't take it personally if you don't get one from me today. I am listening to everything though, so keep posting.

Thanks for all the fantastic contributions so far. It's been such a joy to listen to. Keep it coming. Another one from me:

That is a mighty fine voice if I may say so. Beautifully recorded DB too. Thanks for posting.

Another one from me. Two for one actually. Both outstanding singers in their own right, and Krauss in particular is IMHO one of the best harmony singers in the business. The music won't be to many peoples' taste, but that's not what this thread is about:

Never heard that before. Nice!

Another one from me...

A thread that celebrates the talent of people who can actually sing. I don't need to like the style they sing in or the topic they're singing about. I just want to enjoy listening to people who can sing without the need for studio tricks. Using studio technology to enhance a good voice is not the same as making a silk purse from a sow's ear. If you don't like the singers being posted, then instead of b*tching about it why not post your own idea of a good singer? To get us started, here's someone whose singing I've always enjoyed (even though her music often seems to provoke widely varying reactions): Over to you...

I ran my own project studio for a number of years, and in all honesty I don’t recall using any of this terminology at any time. The only frequency-related term I do remember using is ‘presence’, usually when discussing microphone characteristics. Microphones, especially studio mics, normally have a slight ‘lift’ in the response curve at around 5kHz. ETA: Having looked at the list again, 'treble' and 'sibilance' are terms I am likely to have used, and I do recall studio engineers talking about warmth. Apologies for the oversight. That said I do still see the list as being a bit of a contrivance overall.

Check my previous post (just above yours) ^^

Looks to me like the blue represents fundamental frequencies (i.e. the notes you are actually playing), whereas the red appears to indicate the overtones (for a bass, the 'honk' indicated is best thought of as a characteristic created by tone control settings, specifically the midrange, rather than as a plucked note). The blue line for the bass (which could be either electric or DB as a 4-string bass has roughly the same range as a DB). The black sections dotted around the chart I'm not so sure about, but it could be showing possible extensions to the standard range. The low E on a 4-string bass is a little over 40Hz, whereas the low B on a 5 is a little under 30 Hz. I've seen orchestral DBs with a fifth string, which I imagine will be tuned to the same low B. As it happens I think the overtone series, if that's what it is, is a bit of an oversimplification without further qualification. YMMV of course. Hope this helps.

At that time I'm pretty sure the Guitar school was called The Guitar Institute - certainly was when I was there in the mid-90s. Run by Tony Limbrick IIRC As to the tune, I can't help I'm afraid. Sorry.

A vote in favour of double ball ends. I have a Seibass Original 5 and can confirm everything @LeftyJ has said in regard to his Status basses.

John Lee Hooker couldn't count to four. Some would say he chose not to now and again, but I've never bought that argument.

Not too sure I agree with that, but I can see the argument.

It’s only really an issue if you’re fussed enough to make it one. Some guitarists use multiple tunings freely at gigs, and I don’t recall members of the audience ever complaining that the neck relief doesn’t sound right. Strictly speaking you should of course (especially if it’s to be a permanent change), but if you don’t nobody will come to serious harm.

+1 to all the advice here. As a guitarist by training I'd say there's definitely a problem with the guitar. In truth I'm struggling to see how detuning a semitone would cure it. Might be worth mentioning that in most styles the B string (along with the G) generally sees most of the string bends. As @Dad3353 suggests, the bridge saddle would be the first place I'd be looking.

Indeed so. Thanks for posting. It doesn't have the four-to-the-floor in the left hand (which is the real key IMHO), but very interesting nevertheless.

Catchy isn't it. Joplin is widely credited with putting the rhythmic element of the music front and centre. Although I haven't tried it, I think it would be a great idea to learn the bass pattern for this piece. What makes it so catchy (of course) is the way the right hand does all the syncopation against a rock steady left hand. As to The Sting, here's what you really need: Enjoy!