tauzero

I don't have to bother buying combs any more. There was (and maybe still is) a website on which you could listen to a bit of music played on a P, a J, and a Stingray (might have been something else too) and try and identify which bass was which. I could, but only because I could make the comparison. Perhaps I'm cloth-eared. I know that the sound I get from my Warwicks (now disinterred and pressed back into action) is a complex one, but I can only hear that when I'm listening to the bass absolutely on its own with as little as possible extraneous noise. Indeed, any twin pickup bass (with both pickups going) is going to give a more complex sound than a single pickup, simply by the physics of the whole thing, but you'll never be able to hear the subtle nuances once the drummer piles in. I'm with those who have responded and said that it's not so much the tone that's in your fingers, it's your style. Two players playing an assortment of different basses will sound the same relative to each other on each bass, though each player won't sound the same in absolute terms on every bass.

The video is almost as bad as the song. Maybe that's intentional. Let's not forget, other Lennon songs got covered too...

Capacitors of whatever value present a higher impedance to lower frequencies than higher frequencies - the impedance doubles when the frequency halves. To give you some idea of values, at 100Hz (somewhere round E, 2nd fret of D string, with apologies for any inaccuracy) 10nF would be an impedance of 160k, and 100nF would be a tenth of that. So imagine a resistor of 320k replacing the 10nF capacitor when you're playing bottom E, 160k when you're playing an octave up, and 80k another octave up, and you'll see how the circuit behaves.

Things to do before joining a tribute band number 1: check what the bassist wears on stage. Or possibly select the band you'd like to be in a tribute to based on what the bassist wears on stage.

I thought it was FRFR speakers and IEMs that killed rock and roll. Although in the words of St Ian of Hunter, "The golden age of rock and roll will never die as long as kids still feel the need to laugh and cry", although social media may be replacing that.

I'm struggling to remember the last piece of bass gear I bought (although if I bought it any time before yesterday, that's not easy) - probably the BF BB2. My hoarding tendencies were rewarded, though, because I've been using 5-strings for several years now and kept my Warwick 4s for old times' sake, and now I've just been recruited to a Marillion tribute band so they've come out of retirement.

'og', surely? There's no L.

I like the original but SAHB's cover delights me.

How did we agree this one was going to end? (approximately 25 times per gig) Is Mrs Zero going to drive me home so I can have another pint? How mnya pnints is thatso faar?

I think it's stupid anointing people with titles like this. It's somewhat self-aggrandising of whoever does the anointing. Who appointed Pervis Spann (who?) as the arbiter of who was or wasn't soul royalty? Personally, I think she had a jolly good voice. I think it would be idiotic to have a title that was bestowed on her by some long-forgotten DJ get in the way of that.

Have you any datums to support that assertion? Coitum volantum non dono.

I feel sad for you, not being able to get any sort of thrill from playing covers. Originals and covers are rewarding in different ways. The originals band I'm in plays a few covers as well as originals (not that 99% of people would have heard of the bands we play covers of). The covers band I was in played several original numbers (until guitarist left and was replaced by another guitarist who was better but didn't want to play originals). I'm perfectly happy with a foot in both camps and can't see any point in slagging off either camp.

Somewhere less than 20 and more than 15. Three Seis, five Antoniotsais, two Warwicks, an Esh, a Peavey, a Dean, a Hohner, two Ashborys, an NS WAV-4, and a brace of acoustic basses. Half a dozen guitars - two Variaxes, a Squier, an Eko, a Tanglewood, and a Yamaha 12-string. Not quite sure where the Megatar goes (Chapman Stick derivative).

If only it was right-handed and a five-string... There's a similar one I've seen (Polish luthier IIRC) which solved the bottom contour problem by having a length of brass bar bent into a curve where the upper bout would be. Damned if I can find a picture though.

My Thumb wouldn't be anywhere near the tent pegs though, it's used solely for musical purposes.

A four-string P bass can also be used to hammer in tent pegs. There's versatile.

I don't know if I'm missing something obvious (it has been known), but when I do a search using the mobile interface, there doesn't appear to be a way to further filter by forum, so I can't, for example, look for specific basses only in "Basses for sale". This may please Mrs Zero but I find it inconvenient. Is there an option I've missed, or a route to the advanced search?

But for the price of this bass you should be able to get a very usable bass. £90 is far too much.

Assuming you've also eliminated the amp, could be the contacts inside the jack socket, the solder joints to the socket, or the solder joints at the other end of the wires running to the socket. Or, come to think of it, internal breaks in those wires, if they weren't replaced when the socket was replaced. Consider replacing the socket and the short run of coax cable from the master tone control to the socket. And always loop your lead through your strap.

Have you tried different leads?

Yes, the Reynolds Girls' career certainly demonstrated how unpopular Fleetwood Mac were.

Plenty of non-Bluetooth wireless headphones. The ones I have are analogue, there's also digital ones (eg Sennheiser RS160) but the latency could well be an issue. The sound isn't being companded, it's just being comped and the panded bit is left out. The disadvantage of wired (other than the wires, which I can live with) is that the Tascam GB10 doesn't drive the headphones I've got quite loud enough. I'm not after hearing-damaging teenager levels of volume. May just need to find more sensitive headphones.

Dammit, I shall be in Ireland topping up my suntan. Ah well, there's always another year for cake.

Same here, wireless at almost all gigs so there's no lead tangling round my leg and all the leads I plug into my bass for rehearsals and for the occasional ultra-simple gig (bass straight to amp) have Van Damme cables and silent jacks at the bass end. Although I could do with knocking up a silent jack lead to run to the Smoothhound.

I'd quite like to use wireless headphones at home to practice with, to save me getting tangled up with the lead, and also because my Tascam GB10 doesn't seem to have quite enough oomph to power my wired Sennheiser phones (can't remember which model offhand). I do have a Sennheiser RS120 but that compresses hugely, so if I start playing a little way into a track, the volume drops away quite spectacularly. I can overcome the volume situation with the wired phones by sending the signal through the hi-fi amp I have nearby, but that rather fixes me in place and removes one of the advantages of the GB10 over just playing a track on the PC and running the audio plus the bass through a mixer. So, does anyone know of any wireless phones that don't compress, aren't Bluetooth, and sound reasonable? I was wondering about Sennheisers that use Kleer digital technology, that Sennheiser boast is compression-free, but I don't know if that's entirely true. There are various phones from £35 or so upwards - has here anyone used any of these cheaper ones, and are they any good?