Chiliwailer

[quote name='Moos3h' timestamp='1429296025' post='2750255'] There's something most odd with my body chemistry. [/quote] Exactly this. Thank heavens I mostly use flats! It's all about sweat too, I knew a guitar tech who had to change his diet because by the time he's put new strings on and done some tweaking the strings weren't looking too good. I eat a really healthy diet, perhaps too much scotch, but I doubt that's what does it. Makes me think it's just my body chemistry and ive met a fair few players with the same issue. One poor guy used to 'slime' all over his basses...

[quote name='discreet' timestamp='1429307208' post='2750401'] Well the thread seemed dull, so I thought I'd brighten it up a bit. [/quote] blooming rosewood threads...

[quote name='discreet' timestamp='1429306748' post='2750390'] [/quote] Wayne Rooney? Uh?

[quote name='dannybuoy' timestamp='1429294483' post='2750237'] The string might not be touching the board, but the fret transfers vibration directly to the board. The softer, more flexible or porous this board material is, the greater the damping effect on the vibration. Imagine if your board was made of sponge. The frets would wobble about, taking energy away from the string, which then gets dampened by the sponge. It would have a similar effect to playing with foam mutes. Since rosewood is more 'spongey' than maple, this is exactly why it sounds darker, it's just that the difference is a lot more subtle. [/quote] Nice

[quote name='BigRedX' timestamp='1429268064' post='2749813'] I would have thought that any difference in sound between a maple and rosewood board neck would be more down to the difference in construction of the two necks then the fact that the fingerboards are different woods. IIRC Fender necks with maple boards are a single piece whilst the rosewood boards are obviously rosewood glued onto maple. [/quote] Indeed, more variables!!! Fender are mostly solid maple, with the odd maple cap reissue from CS if in they are late 60's if im not mistaken? I think of acoustic guitars and how rosewood and mahogany back and sides sound different, how cedar, mahogany and spruce tops sound different. Demonstrates to me that different woods give off different tones. Back to you with the extra variables!

[quote name='Beedster' timestamp='1429267811' post='2749806'] When I hear that tone on a recording, I can see a maple boarded Precision in my mind's eye, seriously! [/quote] 70's Pink Floyd does that to me every time!!

[quote name='bubinga5' timestamp='1429266274' post='2749787'] does anyone think there are too many variables for anyone to make a solid judgment.? [/quote] I hear you. I'd have to state that each wood has its own characteristic, though the variables create the overall tone so I competely get what you're saying. Keep the variables constant, then maple v rosewood can become more apparent. That's what we did in our tests.

[quote name='Beedster' timestamp='1429265575' post='2749779'] Yep, I think preference in feeling leads to projection of tone amongst some of us. I much prefer the feel of a maple board, just feels cleaner and more precise, so I wonder if I'm also hearing a more clean precise tone? [/quote] That's exactly what I hear, as well as the extra attack on the note, which is why I always loved maple P Bssses but never Jazzes. I recently changed my rosewood Tele for a maple one, got exactly what I was after in the tone dept.

[quote name='Beedster' timestamp='1429265349' post='2749778'] Possibly Dan, the '55 is THAT good, and I'm really not sure I need it and the Pino (don;t get me wrong, they're both equally good, it's just that I was expecting the Pino to be outstanding so it didn't surprise me, the '55 did). To be honest, I bought the '55 as a stopgap ahead of the Pino arriving thinking I would probably sell it once the Pino came. As is often the way, the Pino came a lot sooner than I thought it would, in fact FCS delivered spot on the original delivery date as opposed to 6 months later that I had anticipated. However, selling the Pino would leave me with only maple boarded basses (well expect an old Jazz, but Jazzes aren't [i]proper [/i]basses are they ), hence in part this thread, the other part being my constant battle with my brain over whether I can actually hear a difference in tone between certain basses or whether I am actually projecting it! Or whether any of it really matters anyway [/quote] i understand that dilemma. I wish I didn't have to of sold the 55, but out of my basses the 55 and my Lull P4 were too similar, though competely different if that makes sense?! (I have a Jazz and a Modulus so they are poles apart from the Lull and 55). I really wish I could have kept the 55 for playing blues, country, southern rock type stuff and then the Lull for soul and RnB. But, either bass could do all those genres anyway so one of them had to go, the Lull being the better suited to my back and neck conditions made the decision for me. I had no say in the matter! Impossible to compare the 55 and Pino though. Super light ash body (deep subs) versus alder, rosewood versus maple, split pickup versus stacked single..... The Pino would easily be more versatile, but the 55 has that something unique and huge about it. Gutted I couldn't have kept the 55 as it offered so much that other basses don't have and can't do but such is life. I don't think maple v rosewood comes into this one?

[quote name='gary mac' timestamp='1429265010' post='2749771'] I got the highest score for guessing which was maple and which was rosewood. Have to be honest though and say, it was probably more luck than judgement [/quote] I'd have to agree with that mate, as FinnDave says, they all sound the same in the dark! It's harder to tell when the constants change, like pickups, body, strings etc. Though to some players, the neck wood does make a difference to the way they get on with the bass or guitar, I've had that experienced many a time myself.

Hang on..,,,you thinking of moving on either the Pino or 55?????? Gasp...

Hi Chris, Whilst working in guitar shops I have done neck swap tests many a time...many a time! The best test is when its the same body with two necks, rather than two different basses entirely. In my experience, and with others around me too, we found there is a definite difference, no placebo, no question of what we heard. As a general rule of thumb, I found rosewood to be warmer or with more low mid range, maple has more attack. We also did body wood swaps...but let's not even go there as I'm sure there are some that already want to lay into this post

1,2,3,4 Nice looking bass

[quote name='discreet' timestamp='1429193512' post='2749058'] The question that is the title of the thread. Seems like it's a 'yes'. [/quote] Doh, gotcha!

[quote name='Bassman Steve' timestamp='1429189916' post='2748995'] Oh (and from personal experience) don't let your guitarist knock the 'ear' off the dalek! [/quote] Was that with KLF?

[quote name='discreet' timestamp='1429189027' post='2748967'] I think then you've probably answered your own question. [/quote] You lost me there pal, what do you mean? P.s. I ended up getting paid jobs in the end, but it sure is a gamble giving freebies.

[quote name='discreet' timestamp='1429186657' post='2748899'] If you're getting expenses and you're not actually going to be out of pocket AND you're moving here anyway, I'd say GO FOR IT. [/quote] I hear you brother about not being out of pocket...but.... If you're serious about being a session player then often dues have to be paid. I spent a year doing sessions, after doing varied work I quickly realised I didn't enjoy it, at all. But my journey there was fun and i was proper dedicated. I did some sessions for free and without expenses to 'get out there'. It ended in paid work, one act I did freebies for took me on the road and the next thing I know I'm sitting in a room hanging out with 2 Spice Girls, 2 All Saints, Bryan Adams and Liam from Prodigy. That could have been the experience to keep me buzzed and enthused but I could see in Liam's face how much he wasn't enjoying being there (his Mrs was an All Saint) and I knew I wasn't enjoying the whole experience too. That's when I knew the end was nigh. After a months recording session in Spain with some tossers who went on to have a number one album I realised I was better suited to bands and chemistry playing so I have no regrets whatsoever about dropping out from threat gig (in true tosser style they screwed up the 2nd and 3rd album anyway!). To conclude... If I hadn't done free or non expenses sessions, I'd never have known or got myself out there.

Ugh, hell....

If you want to be a sessiom player then I'd say you need to do it. The session world has its own rules, you need to put yourself in the mix and get to know people and have them know you. This is an opportunity that could go nowhere or result in exposure of some form that may help you now or in the future. Cliche but...it ain't always what you know but who you know, and how your personality and vibe fits. Good luck

Pay to play killed many London venues years ago, back then I stopped playing and going to those venues, I'll be damned if I support them as they did sweet FA to promote. The more serious bands knew to avoid those places anyway if they didn't have a large following. Those venues attracted a certain type of band, I'll leave that one there... Then there are venues or promotors using venues that have their own vibes, excellent DJ's, different rooms, an evening that doesn't revolve around the bands playing, and a scene. They do it so well, bands don't need to concentrate on promotion. The music was secondary, made it more fun for everyone as my pet hate was and is being stuck in a room having to watch a band you're not into. So if people came in to watch the band they actually wanted to be there, good times. Lastly, and my favourite, we played in a scene that had warehouse parties. The kind of atmosphere created always made for a great gig and night. Again you don't have to promote a gig, just a great night for your pals. That's the secret I reckon. Edit - just to say that those last two paragraphs can work, we got a following and deal that way, people weren't forced into liking us just because they were there, proof was always in the pudding by the way the room filled or emptied and how people respond after.