SubsonicSimpleton

Flymo to the moon... genius What did you use for the vocals?

What are you getting upset about? Everyone seems to have a different concept of what is important in terms of visual stage presentation, volume levels, acceptable sound quality with regard to actually sounding like a double bass, storage/portage convenience and how much money they have to spend. I've been to acoustic performances at typical folk club volume levels where an EBG has been used alongside acoustic guitars and there was a distinct absence of pitchfork waving mob demanding that the bass player be strung up from the nearest lampost for committing such an unforgivable heresy. If you spend a lot of money on a five string EUB or converting your stagg, and don't like the end result you'll likely lose out financially - so make sure that if you go this route you won't regret it later.

Double bass is not electric bass guitar, the only real similarity is that they are tuned the same, so your third option is to treat them as separate instruments and don't try to unify your approach. A four string acoustic upright is a much more logical progression if you are currently only playing EUB because it's big, clever, impresses the ladies and sounds better. If you ever need to borrow/hire/upgrade the biggest segment of what is already a somewhat niche market is fours. Bit of foam down the bridge and roll off the tone control on an EBG works well enough if you really need the low notes on the B string and your band members idea of 'acoustic performance' is plugging their electro acoustics into amps and then playing loud anyway.

If you have an unsightly tattoo on the inner forearm of your picking arm, you can save all that money on expensive laser removal treatment and simply leave the body binding on your Rick do do its magic.

They might just be altering the production spec as they have been developing their own production facility to reduce reliance on third party suppliers, so they might be about to release a mkII version with no meaningful changes except better bottom line for them.

They don't list anything other than 44.1/48Khz in the specs (on G4M at least) haven't delved into the official manual though.

Geez thats just silly cheap for what you are getting. Support for sampling frequencies higher than 48Khz would be my guess if they are doing a product refresh.

G domniant 7 is made up of the notes G,B,D,F so it is a major triad with a minor 7 - there is a tone/whole step (2 frets) gap between the 7th and the root C major 7 is made up of the note C,E,G,B so it is a major triad with a major 7th - there is a semitone/half step (1 fret) gap between the 7th and root A C dominant 7 chord would contain the notes C.E.G,Bb, a G major 7 chord would contain the notes G,B,D,F#. A C diminished chord is a stack of minor third intervals, so the seventh is flattened twice so it would contain the notes C,Eb,Gb,Bbb - the Bbb note is enharmonically the same as A natural, but we spell it Bbb because A natural is the major sixth. A Cmin7b5 chord would be spelt C,Eb,Gb,Bb. To avoid confusion and to get come clarity on where the voice leading is happening with a chord progression, I have always found it helpful to simply play through any new progression using first just the arpeggios ascending, and then progressing to playing them ascending from the lowest available note, then descending, then starting on the third, fith, seventh,then move to a different place on the neck and repeat, then do it on only one string at a time etc etc. so looking at your chord progression you have Dminor7 D,F,A,C Gdominant7 G,B,D,F Cmajor7 C,E,G,B Cdiminished7 C,Eb,Gb,Bbb Once you have the arpeggios sorted you should already be capable of playing through the progression, now you can start experimenting with taking different routes through the chord tones and using scale tones or chromatic passing tones to join things together in ways that sound a bit more interesting but still make musical sense. Once you are comfortable try transposing the progression one step in each direction round the cycle of fourths/fifths and take the time to spell out the chords in full correctly for the new key (so from C major, F major introduces 1 flat, Gmajor introduces 1 sharp) - if you are just getting to grips with theory the process of learning the chord tones (and not cheating by sliding visual shapes around the neck) will make it much easier in the long term to understand and digest more complex topics.

So he wanted you to make a gap 27 32nd notes long and you couldn't count it or feel it consistently?

Or there are these https://www.ebay.co.uk/bhp/clip-nuts

Try transcribing some Bonham grooves, and then see how they sound on midi playback, maybe also try giving them to a good reading drummer who has never listened to Bonham (or don't say what the transcriptions are of) - will in either case you get something that sounds close, or do you need to actually hear the recording of Bonzo doing his thing to understand the subleties of what makes it special?

Try using a socket on a long extension bar to hold the nuts still - you might need to use a UJ extension to get past the rear flange, or you could tape an open jaw spanner to a shatter proof ruler if the gap between the amp/case is very tight.

Yes and No. Being literate in standard notation is essential for certain situations, such as reading gigs, academic music study, arrangement and scoring. Being literate in standard notation gives access to a huge amount of written music. Being literate in standard notation will absolutely not grant automatic benefits towards timekeeping or groove (I've played with lots of amateur classical musicians who have decades of reading experience but whose ability to maintain pulse or lock with other musicians is pretty terrible, and let's be honest, not all drummers have good time/groove even though all their learning materials use standard notation) Being literate in standard notation will not grant you the ability to write good songs, improvise, memorise parts, hustle gigs, improve your aural skills, give you the practical nouse to survive life on the road, equip you for negotiation with promoters/venue owners/agents/labels, give you any sort of personality on stage, make you easy to be around etc etc etc Musicianship is a multifaceted skillset, and what's most important varies from one musical situation to another - I would argue that good time and ear training are the skills that cross to every practical situation without exception. That being said learning to read has enriched my musical experience and opened new oportunities, so it is definately worthwhile, but it is important to remember that you can still bring a great deal of value as a musician without that ability, so it is a mistake to assume that you are automatically a lesser musician if you can't read standard notation.

What sound do you want? How intricate is the music you want to play? How much money do you have to spend? I've tried several options longterm myself, Spiro weichs, Evah weichs, Innovation Honeys, and currently have Innovation golden slaps on my bass and have played a bunch of other offerings on other peoples basses - the main thing that I've noticed is that each string requires adjusting your technique to get the best out of it, exactly how much you need to adjust seems to determine whether players like or dislike a given string depending on what they are already used to playing. I wouldn't recommend the golden slaps to someone whose main activity is classical orchestra, but they sound much closer to plain gut than modern steel wound strings, so if you are on a tight budget and shooting for a Paul Chambers vibe or even baroque they are a viable option as long as long as you are willing to make the effort to adapt your aproach a bit IMHO. Popular internet opinion on these strings is that they are unbowable, sound terrible and/or require modification to work for arco playing, this hasn't been my experience, so YMMV. My preferred string for arco/pizz but no slapping that I've tried thus far is definately the Spiro weich - in the balance between sound quality and how tiring they are to play and cost they win out for me, but plenty of other people prefer other options depending on what their bass responds best to or what they are seeking sound wise. My observation on playing other peoples basses with strings different to what I'm familiar with is that the string stiffness/tension aspect tends to figure as a bigger issue than sound characteristics given similar string construction, so I figure that my technique and bow are much more significant than the strings in the overall sound.

I think that it is important to look at the question with reference to the situation in America at the time she was first referred to as "the queen of soul"; Was this a label she was given by the black community in celebration of her undeniable talent, or was it a label promoted by the white establishment who couldn't sweep her under the carpet in a time of racial segregation in society, the music charts and radio stations, but still tried to diminish her greatness by emphasising her blackness and implying inferiority - I suspect that the mainstream US media wanted Dusty Springfield to be the queen of soul, much like Elvis was the king of rock and roll (despite being not a patch on Little Richard and Chuch Berry IMHO)

How about using a guitarron (mariachi theme optional), but whatever you do having a drummer playing a barbeque must feature in your plans somewhere

As far as garage conversions go, this band built an isolation room using inside out walls to tame the internal acoustics, definately worth a watch, although it is worth noting that their use of high mass vinyl was probably an unnecessary expense as an extra layer of plasterboard would have been cheaper. The interesting thing about this approach is that although it isn't meaningfully portable, because it is built in a modular fashion, it could be disassembled and moved at a later date should the need arise. There is a real world room within a room build series that starts here, and another garage conversion There are plenty of other examples, but many of them fail to follow any sort of best practice and end up being exercises in wasting time/money because they overlook one or more important factors.

Might be an idea to get someone else to take a look at what you are doing, as bad posture can really aggravate certain problems and you might benefit from changing your physical approach - just because it didn't cause problems in the past doesn't mean that what you have been doing up till now was a good way to avoid long term injury.

Music should be enjoyable, there is absolutely nothing wrong with a band being primarily a social activity, as long as that meets everyones expectation - IME it can go a bit wrong if there is a mismatch of ambitions and some members want to hang out and others want the band to be booking loads of gigs or working hard to push the musical boundaries. In working bands it is possible to have situations where everyone can play to the standard needed to deliver your service and they are all easy to be around as human beings, but the need to get paid means that sometimes you have to work with people you don't really like just to get the job done - bit like most regular day jobs. If you are enjoying yourself, just appreciate it and ignore any naysayers.

Have you tried shimming the pickup elements to adjust the tightness of fit in the bridge wings?

Some people become musicians with a deep abiding love of music as their main motivation, there are also plenty who see playing an instrument as a good way to be perceived as cool or impress members of the opposite sex. Different genres have different skill requirements to get to the point where you can start making music with other people. Of course I'm sure someone is going to find an interview from 'The Strad' where a noted classical musician when asked what got them into music answers along the lines of "Well I started out playing electric guitar in a rock band in high school, but took up the viola when I realised all the hot girls were queueing up backstage to fellate the string section the first time the school orchestra got through Beethoven 2 without trainwrecking during the trio."

The pitches that the pipes produce are directly related to their wavelengths, so you could make the activity of making one (or several smaller) of these instruments a creative and practical activity from start to finish rather than following instructions. If you are using push together pipe fittings (I assume that PVC pipeweld solvent is something you would want to actively avoid) you can tweak the lengths a bit anyway and experiment with connecting together different lengths of pipe in a non destructive manner. If you want to involve multiple people in making music as a group activity, are you aware of the extistence of boomwhackers?

Round these here parts, unsigned bands and solo artists tend to do a lot of promotion at open mic nights (most nights tend to have guest spots for a featured artist about 30 mins) - if you don't have a big existing following who will turn up to a gig you are putting on, this might be an option worth considering. If you do go this route, you need to travel light and be able to set up quickly, so rather than live looping it might be a better approach to pick one instrument, then make yourself some backing tracks by muting that instrument from your recordings. You might not be keen on the idea of playing with a backing track, but it would give access to the broadest range of opportunities to get your music out there.

Ring bassbags up and ask them which measurements they need to size your bag correctly.

Is it possible to make a completely fair judgement on this if you listen on a different playback system/format and if you haven't imbibed the same chemicals, and don't have the same hormone levels, emotional angst or world view?