Dad3353

Yes, once the guitars, keys, bass Fx pedals and drums kick in.

Oh no..! Now we have a debate on tone-grass starting..! ...

I can echo this; I played quite often with a Caribbean band; I was the only white bloke in the group. I can attest to the myth that all Blacks have natural rhythm as being patently false, as, to make up numbers on stage, the BL took his mates as conga, maracas and bongo players just as 'fillers'. Everyone kept dancing as long as I kept the beat going, whatever these fellows were playing (or not...). Again, normally five-hour stints, 9 till 2. Happy daze.

Many pick-ups are mounted on springs, or a foam block, to provide for vertical adjustment (string height from pole pieces...). Does this practice have any effect on the transmission of these tone-wood tones to the pick-up..?

Can you tell the difference when they're played by someone else..? Genuine question; I'm not doubting that you hear a difference (nor indeed, that the difference exists...).

How does one determine, before the build, what the final sound will be..? How does one go about selecting that piece over that piece, knowing that the instrument will sound 'brighter', 'louder', 'darker' or whatever..? Tap-tuning..? Weight..? Under a microscope..? Wet finger in the air..? For a solid-bodied instrument, I'm not convinced that there's any reliable, repeatable, method. Is there a pile of wood 'rejects' out back of any of these master builder workshops..? Wood that they know, in advance, doesn't cut the mustard..? Hmm... Colour me sceptic.

Luxury. Sometimes it's the lower corner of a boggy field. ...

Not many are suggesting that there is no difference at all, just that, for solid-bodied instruments, the species of wood has such a tiny difference that it cannot be either heard, nor measured, in the 'real world'. Changing air pressure makes a difference, as does temperature. Does one have to get to quantic level to decide which sounds better..?

This neck is made up of eleven pieces. I wonder what it sounds like..?

For the variety bands we used to have, in the '70s, we played from 21h00 till 02h00, non-stop, Friday, Saturday and Sunday night in the summer season. The drummer was the only one who got no break (some songs needed no guitar, others no keys etc; all needed the drummer...). I had a bottle of diluted orange juice on the floor, to take a sip now and again, and just played through. I couldn't do that now, of course, but it was a Good School. Happy daze...

I think that, from the photo, we can judge that 'accommodations', this time, meant 'stage area'..!

No 'almost' about it..!

... and she's playing a Camco kit, just like mine (except that mine's clear maple finish...)..! Good taste in drums, at least..!

Does a guitar/bass body resonate differently when played in free air, as opposed to being strapped to the player..? What effect, if any, does the close proximity of the player have on any resonance..? Does the instrument sound different when played on a stand, or hung up in a shop, compared to on stage..? I would suggest that any acoustic effect of an electric instrument is so negligeable as to be beyond 'normal' human hearing. It may (note the 'may'...) be possible, in laboratory conditions, to detect something, but even admitting this, I don't think that this has any effect in a band, or recording, context, and is therefore a discussion for discussion's sake. Why not; it's of academic interest, but of little (read 'no'...) real-world value. Disclaimer : I'm a drummer, so...

Their vibration is dampened, by 'crud' in the windings, or metal fatigue. Not all strings have this happen to them; flat-wounds last considerably longer, and my nylon-tape-wound strings sound 'dead' from new, so...

The sound reflects the way the string induces changes in the magnetic field around the pick-up. There is very little (small enough to be insignificant...) acoustic input to these changes in magnetic flux. One has to shout pretty loud, and with high gain, to pick up any microphonic sound from an electric guitar. Far louder than would be any acoustic vibration of a wooden guitar body. If the strings are removed, even that sound is no longer picked up.

No, they don't pick up the acoustic vibration of the strings, only their changing flux in the magnetic field of the pole pieces.

Magnetic pick-ups don't react to sound at all, only to changes in the magnetic field around them (the vibration of a steel string, mostly...). That's why single-coils pick up hum, from external magnetic fields such as unsuppressed lighting systems. One cannot 'hear' this hum, as it's not phonic, only magnetic. The 'tonewood' does not react to this hum, either, nor to an E-bow. Pick-ups don't react to acoustic phenomena.

Only an expression, I know, but I was absent (at work...) when a spark ignited our sofa, and I lost my Antoria Hummingbird 12-string acoustic. My Good Lady extinguished the blaze, but too late for the guitar (and the sofa...). 'Stuff' happens.

Well, this bloke ^^ has done an amazing job of not convincing me, sorry.

It sounds like 'E-A-D-G', ( that's two notes, then same again a tone down...) repeated ad infinitum, to me, with frills and little 'funky' runs as decoration. If it's all 'funk' like this, no chord charts are needed. Just find those 'key' notes and play 'em to death.

I have many guitars (and basses, and drums...), but this is my finest 6-string, for me, with a long history.

If you can't get any microphone input, may I suggest that it's a sign, and should be left like that..? ...