NancyJohnson

I'm starting out the day with Phil X & The Drills. After that's done, I'm going to migrate to the Futureman Records XTC tribute, 'Garden Of Earthly Delights'.

Last night I fleetingly skipped through one of Ben Crowe's Crimson build videos on the tube of you. He made an off the cuff remark (along with a wry look on his face), that if you could tell the difference between two or three different woods you had a better ear than he does.

Living Colour today.

Bump

I am aghast at the prices companies suggest for what are essentially Jazz and Precision (and to a lesser extent, Thunderbirds) copies. Much as I love my Lulls, why anyone would pay £3K for a Precision or Jazz copy is beyond me. As for the OP, why would anyone pay a vintage price for a brand new distressed instrument? Mental.

UFO - Strangers In The Night. Any version. You can close this thread now.

Blimus. Unlistenable.

Hey Ian, I'll try and find them. Hope all is well.

We only switched to Lizard Sweets for this project as we caught some johnny-foreigner passing himself off as us online. There wasn't a Lizard Sweets anwhere (apart from the gummy variety).

I had some isolated bass tracks by John Deacon, one of which was Liar. If you're familiar with the track, you'll know there's a solo bass thing going on in the last quarter; while the bass sits nicely in the mix, isolated it's quite shocking how (for a fretted instrument) far off the notes are. So it brings us to a similar route many of my posts seem to come around to recently, in that does <the subject matter> really matter. With the odd tweak, all my kit is set up to work per my requirements; action, intonation, relief etc. but this is probably me just needing to know that when I play a note it's going to be the note that I expect, not the sharp or flat of it. Given the isolated recording I mentioned earlier, I'd never noticed that the bass was so off and I'd listened to Liar dozens, perhaps hundreds of times over the years. Perhaps our brains are just wired not to notice nuances like this, or more to the point, 100% spot on intonation probably doesn't matter. Just moving along, my band (Lizard Sweets, look 'em up) will be moving into uncharted waters for the next batch of songs. Guitarist/producer is experimenting with quarter tone stuff (which sounds distinctly middle-eastern); god knows how that's going to work.

Yup. Lovely piece of paper stuck to a nondescript lump of something.

Nice try. Best of five?

OK, quiz time. What wood is this:

What scale length is it? The 32" or 34"? It looks sweet, I have to say.