wishface

I wonder if it might be the strings. They feel too tight, like they've been over tuned (they haven't unless the new batteries i bought for my tuner are super charged!) and too heavy. If that makes any sense. Perhaps it's just me. I didn't buuy it from a shop, I ordered it online.

Rounds, usually on the lighter/medium side 40-100. I'd like to try even lighter, but can't really afford to just dabble. Ive never tried flats tbh.

Love the bass, don't love the cost of strings Best I've found, and thus where I go (and only when I need to, being skint), is Mickleburgh in nearby Bristol who charge about £18 for a set. Anywhere better? What do people on here recommend?

I live inbetween weston and bristol

Don't worry i'm not going to do anything I'm not comfortable with, but I can't afford to take it to a tech.

How do I measure the height at the nut? If that's the problem there's not going to be much I can do as I can't (and indeed won't) file the nut away. That's a job for the pros IMHO. You say correct relief for the particular neck. How would I know the correct relief for it? Thanks for the replies

buzzing remains, if slightly, at a height that's higher than I'd like. I didn't raise it to the point it cleared completely. IF it's already too high for comfort then either I need to adapt or something else is going on. I've checked the frets using by handy dandy Santander bank card and they seem fine. I don't imagine that's where the problem lies (hopefully), but that's as accurate as I can test. With regard to our friend's first comment, regarding action, before I tighten it, which I'm happy to do, can I confirm his suggestion is on point? Thanks

So I bought a Sire M2 (the original version). I'm having some issues, mainly buzz. Specifically the A string between 12-15th fret. Pretty harsh buzz. The E had some issues, but that seems to have cleared up, similar area is potentially noisy depending how hard i play. I favour a lower action and have already had to raise the A a little more than I'd like. I've read that truss rod adjustments don't affect frets at that part of the neck. The neck relief seems fine to my eyes (I checked the measurements fwiw) It's a lighter neck than I'm used to and the strings feel...different. I've no idea what guage they use, or whether they themselves are the problem, but they feel stiff, heavy and harder on the fingers. Perhaps it's a question of getting used to it. Hard to tell. I've read that truss rod adjustments don't affect frets at that part of the neck I have no idea if it's due to the frets themselves, if it is a fret issue then it's beyond my ability to fix but seems oddly specific for an anomalous fret, affecting one string. I can't afford the professional touch right now, so I'm looking for what I can do at home, if anything. I'd rather wait till I need to replace the strings before doing that anyway. That way I can get it all done. NOt really sure what to do here, some advice would be appreciated, thanks

That D chord is why I say it's bluesy because it sounds like a chromatic turnaround of some kind. So I had assumed it was a convention that came from that style of music. But the use of dominant chords is something the beatles do a lot. There's a principle at work here and it's things like taht I'm trying to learn. I know the chords individually and how to play them. It's putting them together. My musical roots are in more riff based music where this knind of knowledge is either not present or not relevant. Bands that just write great riffs and stick them altogether.

Gm (Part II) (Gilmour, Waters, Wright) Gm Dm Cm Gm Dm Cm Dm Gm (Part III) (Waters, Gilmour, Wright) Gm C F Gm Eb D F Gm Gm C Gm Eb D Gm Gm/F# Gm/F Gm/E Eb D Ebdim D (Part IV) (Waters, Gilmour, Wright) Gm Cm Gm Eb D Eb D7 Gm Cm Gm D7#9 Gm Cm Gm Eb D Eb D Gm Cm Gm D7#9 (the chords i'm interested in are the last part, right before the vox). It's not dissimilar to what they do on Breathe from Dark Side (as everyone on earth knows)

Good advie, thanks. That's why I linked those two clips. They are musical. That's the sort of thing I'd like to know. Another example: the chords in reltively simpl songs like Breathe or Shine on by Pink Floyd. THere's always a few odd chords that seem to end a particular sequence. I've always sensed there's a reason why, posssibly based on blues theory (Gilmour is a bluesy guitarist), and I'd like to know it. Or a lot of Beatles stuff.

Is it normal for the socket for the lead to become loose so quickly? I keep having to tighten it back up which is a pain, not like I'm un/plugging it every five seconds. The buzz on the low E is a problem. I adjusted the truss rod ever so slightly but either not enough to make a difference, or the issue is somewhere else. I can't discern if the frets are a bit high, it doesn't seem like it. Bit unfortunate to have these issues really. I'd like to know what gauge the strings are, they could be the issue. They feel heavier than I'd like. I don't want to just keep twisting the truss rod.

Transcribing is probably above my pay grade right now I have some harmonic knowledge, but the problem with being self taught is not knowing how much you don't know. I have an MI book on harmony. Do you have any preferred sources to learn from?

Not at all, I appreciate everybody's input, thank you. I think what I'm asking is whether there are underlying principles governing the use of scales that can be applied to their learning, rather than learn them one by one like a shopping list. I don't mind doing that at all, it's what I do now. I devise exercises out of patterns because I enjoy that. However I do not want to be stuck in merely playing those patterns ithout understanding more. THat's a common pitfall. Here's a couple of clips. What I would like is not just to have the technical facility these guys have but to be able to play what they are playing. Anyone could just do a solo by running up and down scales, but these are examples of not jsut technical facility but understanding what and making choices. Also, I've never been a blues player and so their choices are informed clearly by styles that incprorate those kinds of melody (blues/jazz/funk). Note that I'm not specifically looking to learn blues and jazz, but I am looking to understand the sorts of things these guys are playing and why they sound like they do. It's bound to be more than a few blue notes here and there. The bass solo in this and the chords leading right into it:

correct. I'm (if I may be the one to say it) reasonably familiar with the basics. I know the major scales and the notes on the neck and chords. It's just all the offbeat scales. For example, i've just learned the melodic minor is different descending. I do not know why. That information is the sort of thing Id like to know, along with what you'd use it for.

Sure, there are lots of good clips, but the point was that having a teacher can spot the problems you yourself arne't conscious of. A youtube clip can't do that

Sure, but can't afford lessons

Any pro player. Obviously some are more technicaly and musically knowledgable than others. I'm not making a judgement. But I think it likely that James Jamerson knew theory better than, for example, Adam Clayton. Regardless of who's music one prefers. My point is to learn music. I'm not looking to argue who's better/pro or not

I want to know as much as i can about what to play, I already have some knowledge, self taught. Nothing is putting me off, I just want to maximise my effort

Thanks, I'm familiar with the basic scales. It's just all the other stuff, from melodic and harmonic minors to all the weird exotic scales and jazz stuff. Do I need to learn all of that?

Like the mighty Billy Sheehan (and a few others)? I've sort of committed myself to it.. I started months back so giving up now seems counter productive, but I do wonder if, not having done this for decades like Billy, if my finger is ever going to work up to the necessary strength. I don't even know if it can? The first two fingers have that natural independence and flexibility that allow for control and precision. Raking, and string crossing are difficult (of course). Are there any tips people can give? Is three finger meant to be used like this? I assume so because Billy, iirc, uses it for everything. Other three finger players I'm not familiar enough with to comment.

Shifting is certainly something I need to work on.

Assuming my goal is to be a rounded musician with a good knowledge of music? I'm familiar with the basic scales/modes. But there are so many scales. Do the pros learn them all? if so what's the best way? Or is it just putting in the hard yards?

There's no reason why musical instruments should be expensive tbh. I think it would be far healthier if more people coulad affordgood quality instruments to express themselves, but of course that's not how the world works. The industry likes celebrity endorsements and rich rockstars who will pay top dollar for a branded product. It's a shame really.

Yes I'm enjoying it. Though I have a question about intonation, again. So here's a picture of the bridge after I've adjusted the bridges. The guitar sounds pretty much in tune to me, when I play it. But testing the tuning while intonating, the G and D are still ever so slightly out (flat, so i'm pushing the saddles closer to the neck, shortening the string length). I'm concerned that I'm going to end up pusing the saddles too much. Is that possible? If you look at the picture, are those saddles already too far, if that's evne a thing? Thanks