Dan Dare

It's worth remembering that pickups are not microphones (with the possible exception of those which have become microphonic with age - perhaps that explains the claimed 'airy' sound of those ancient Strats and similar). This applies especially to modern pickups, which are usually potted/sealed and are pretty well immune to vibration as a result. If you tap your finger on the pickup of an old P bass or similar, you will often hear a pop through the speaker. If you do the same to something like a Bartolini or an EMG, you won't hear one (or if you do, it will be tiny). Pickups don't "listen" in the way that a microphone or our ears do (which is by sensing physical vibrations/movement of the air). They detect the movement of the strings within a magnetic field (cast by the magnets of the pickup) and convert that into a minute electrical signal. It's similar to the way a stylus on an analogue record player works. The grooves on the record cause the stylus, which is attached to a thin rod of aluminium, boron, etc to move. The other end of the rod is attached to either a small magnet which moves within the field created by a miniature coil (moving magnet cartridges) or a small coil which moves within the field created by miniature magnets (moving coil cartridges). Again, this creates a minute electrical signal. It's logical that everything in the construction of an instrument, including materials used, will affect the way in which a string will vibrate. However, the contribution of the material, assuming it is of similar density/rigidity, is really not worth worrying about. Construction - through neck or bolted, etc - and especially the integrity of the construction is the thing that really has an effect, together with electronics - pickup, preamp, etc. Obviously, an instrument made of balsa (if it could be done in a way that wouldn't cause it to collapse under the tension of the strings) will not have the same structural integrity as one made of hardwoods. However, the difference between hardwoods of similar rigidity/density is so small as to be insignificant.

I find it hilarious that eBay (and many other organisations) send you advertisements or promotions for something you've just bought. I know their algorithms track you and do it automatically, but it's a bit pointless. "Just bought a new Aston Martin, sir? Why not have a look at these and see if you fancy another?"

It depends, as others say. I play in several different line-ups. If, for example, someone wants my function band to play a wedding or similar, we are going to expect our normal rates of pay. With pubs/clubs, if a venue is small and will be seriously affected by the rules affecting how many customers it can fit in, then we're prepared to be flexible, especially if they have been good to us in the past. Some pals and I have a Monday night residency in a little local (or we will when/if it re-opens). We've discussed this and are quite happy to play there for nowt when it re-opens as it's a nice pub and the guv'nor is a sound bloke, who doesn't let us pay for our drinks and it's half a mile down the road. We're all ageing/retired/ex-pros, who like to get together to play what we want, so it suits us. It helps that we're all older and financially secure, so don't need to earn at every opportunity.

If all else fails...

Too many to list. A search of YouTube for "terrible music videos" turns up some gems. This is one of the more amusing collections: https://www.youtube.com/watch?v=QajzKbTBeGg

It's worth noting that maple boards have a hard lacquer/varnish coating to prevent wear. So you are not hearing the "sound" of the wood (if there is any such thing).

True. Thinking about it, Aguilar use ICEpower modules. Ah well...

Worth checking where things are actually made/built. A lot of companies specify and design, but outsource the manufacture, usually to low wage economies. My PJB cabs (you could be forgiven for thinking they're a British company - Phil Jones is Welsh) were made in China, for example. At least my amps (Aguilar and Carvin) were actually made in the US.

Oh dear. Does this mean more guitar players will be able to afford the means to deafen us?

Assuming you have one to use as a template, try Jack's Instrument Services. They're in Manchester, but will post anywhere. Very good work.

Got to add June Tabor to that list.

The photo of it sitting on the leatherette sofa in front of the torn 1970s wallpaper adds a touch of class, don't you think? I think Andy Travis is right about some not being as able to spot a wrong 'un as others, so despite my earlier comment, I've reported it as counterfeit to evilBay, too.

Agreed, especially your comment about giving people tools and confidence. "Creativity" isn't something finite - something we have a fixed amount or supply of (I may not be expressing that very well, but hopefully my meaning is clear). It's potentially infinite, but, as with any ability (or potential ability), we need to learn how to develop it and acquire the tools to enable us to get the best/most out of it. Otherwise, we will be out of options once our initial stock of good or original ideas is exhausted. Hope this makes some sort of sense.

Ummm. Leaves the over-wrapped and/or silked part of the string in the playing length. Doesn't seem a good idea I concur re the BBOT. Gotoh make a BBOT type bridge, which is a little nicer - better plating, made of brass, so slightly thicker but not massively constructed, reasonably priced - which solves (for me at any rate) the aesthetic issues.

Consider yourself fortunate... I've rarely seen a more obvious lash-up. I thought about messaging the seller and calling b/s, but as it's such a poor fake, there's zero chance of anyone being suckered.

Update. Order arrived on time on the day promised. Very good price, too and free delivery, so I'm happy.

You can. Have a look on eBay. It could be a bit pot luck as to whether the sizes you want are available, but you should be able to mix/match once you've done the maths.

For "big hands"?

I think the price may signify it's a wind-up.

I have to add Mavis Staples to the distinguished names above.

I'm exactly the same, having started on the violin. I have to think about it when reading the bass clef. I reckon it might be because the G string on the bass is in the same place on the stave as the E string on the fiddle, leading you to think, when looking at C in the bass clef (which would be A on the fiddle), that it's your open D string, which of course it ain't. Drives me up the wall sometimes.

Despite the image it attempts to portray of itself as bargain city, Amazon is frequently anything but. As always, it pays to shop around. I'm afraid it's also the case that we are royally ripped off in the UK - prices for strings (and much else) in the US are much lower than they are here. I found the article itself very helpful.

This isn't helping my confidence at all, you lot. I've just ordered my first thing from them. Supposed to arrive tomorrow. Not expensive, so not the end of the world if it doesn't show, fortunately. According to their website, they're based in Folkestone (Kent Coast), so not a million miles away from me if I need to go and shout at them. Fingers crossed.

It can be tricky as a melody instrument player to work out chords/structure in the early stages. If you are used to playing linearly, you have to teach yourself to think more structurally. It doesn't take long for it to become second nature if, as I'm sure you do, you have an ear. It's so long ago (50 years) that I started learning that I can't remember how long it took to become proficient at it. I started out playing the violin/fiddle and was drawn to the bass (possibly because my pals needed a bass player in their band - isn't that the reason many of us start?). One thing I found very helpful was to learn some piano and guitar. Not to any standard - I wouldn't dream of playing either in public - but it got me thinking in the right way and realising how everything fitted together. Some theory lessons helped a lot, too.