TrevorR

I really wish I didn’t agree but sadly I do. I’m also double jabbed but with underlying medical issues, an elderly family member we’re supporting through cancer treatment, the almost certain need to head back onto a commuter train in September/October and a kid with special needs… this autumn still somehow feels too soon. Doubly so with the transmissibility of the current variants. I would also have voted for next year. And @silverfoxnik, @Hamster, @cetera happy to help out when it does come around to pulling it together (as part of the North Surrey massive).

Hasn’t it been on display there for a few years now?

Has more that three chords… OF COURSE it’s a cover! 😉😛🤣

These are two of my fave songs. Never realised they were covers for years… And then there’s also this… sorta… …one of my fave ELO songs but it’s Jeff covering a tune he wrote and recorded 7 years earlier with The Move (and covered by Todd Rundgren)

I know the person well who co-wrote it with Kongos. He’s the leader of the church I go to!

Bernie and Manzanera were both really interesting. Sharlene Spiteri was fun, and very poignant when she was talking about Ally McErlaine’s horrendous brain aneurysm and the aftermath on him and the band.

There used to be a Queen cover band called “Magic - A Kind Of Queen”, which I always thought was rather clever. Also saw Queen B at a festival once. By Jovi is probably my all time fave, though.

For me it’s probably: Velvet Underground The Doors Captain Beefheart Frank Zappa. Heard just enough of each to know I’ve heard enough of each!

Another “can’t unhear it” is Keef’s distortion pedal on “Satisfaction” - every time he switches it on for the riff there’s a huge, audible click on the track. You don’t notice it until you hear it but then it’s there forever.

As the owner of two... makes no difference to me. I ain’t selling!

Sad news if you were dithering about pressing the button on an order...

The definitive conclusion has been that tone doesn’t come from wood, except on those occasions when it does. Or it might have been the other way around.

Well, I was a teenager in the early 80s after all, so...

Really love the instrumental mix of this song. Remember it as the theme from Radio 4’s Weekending satire show. Vocal version, not so much!

So after over 10 years since I last tweaked, I decided that it was time to upgrade the pickups for my Frankenjazz bass and some side-by-side Jazz humbuckers sounded like they fitted the bill. Having Googled a bit and read some comments here (not least from @ahpook ) I rather fancied the sound of Catswhisker pickups. Hand made, British, custom made... perfect. So I ordered a pair of their side by side (two poles + two poles) humbucking Jazz pickups after some very helpful emails back and forth with the guy who makes them, Allan Price, checking out exactly what I wanted, specs, sizes etc. Made the whole ordering process hassle free and full of confidence that they’d fit and work properly. Amazingly the cost was only about £120 including postage - which is about half the price of Aguilar or Seymour Duncan Jazz humbuckers. Result! They arrived after about a week - over the Easter break - and to my eyes look really nicely made. Well packaged for postage. Very neat and tidy. Popped them in the Jazz tonight - the solderless connection on the Audere preamp that I’ve got on the bass made that the most doddly of doddles! Got some nice black screws off Amazon for a bit of a stealthy look too. Having hooked them up the sound is lovely. A real step up from the stock pickups which were on there. Very open and airy sounding while retaining real solidity and punch on both pickups and all settings. And absolutely silent too. Very very impressed and very very chuffed. Just can’t wait to get out and try them out in anger in the real world some time. Bet they sound great at volume through a proper amp. But dead chuffed with them and now top of my list should I need some bass or guitar pickups at any time in the future! https://www.catswhiskerpickups.co.uk/bass.htm

And when that body vibration (with certain frequencies attenuated) is transferred back into the opposite ends of the string? What will be the effect of that on the harmonic content of the vibrations in the string - where you agree you are likely to see both co strict I’ve and destructive interference? It is, after all, the string that is being sensed by the pickups.

Sigh... no one is saying that the volume of the output is increased. The reference was to constructive and destructive interference between sound waves in the body and string. The references were to relative changes in the intensity of different frequencies within the vibrations of the string and hence subtle changes in the spectrum of frequencies in the sound sensed and outputted by the pickups. Irrespective of the overall volume output of the instrument which, of course, decreases after initial plucking of the string as dampening effects occur. As to how two waves of the same or different frequencies interacting can increase or decrease the amplitude of either frequency (or indeed, interact to create other frequencies)... I’ll just leave this infographic here.

Ironic given that neither does the longest serving bass player with The Quo!

Hiram, and now you’ve just drawn @Geek99 back into the thread you naughty boy! And so have I, slaps own wrist! 😂

There it is...

Saw him playing the Electra on the 90125 tour. It was down tuned for City Of Love IIRC and sounded utterly thunderous!

So, what’s the best entrenched position for metal, then? 😂

My thoughts as well. It seems to more of a semantic point than anything around a definition of the word “impart”. Thinking through the potential physics at play I don’t necessarily buy the “the body wood can only subtract frequencies” premise either. The strings will transmit vibrations into the body at the nut and bridge. These will rattle and reflect around the body/neck materials in all sorts of random ways at different frequencies. Some will be, of course, absorbed and dampened (at different frequencies and different amounts) reducing the overall energy of the system. However, it’s just as plausible that at some frequencies interference patterns or even standing wave vibrations could be formed within the body increasing the amplitude of those frequencies at the expense of others. The vibrations in the body would then transmit back into the strings at two points (nut and bridge) creating more complex overtones in the string. However, again since these would enter the strings at both ends it seems plausible that interference patterns could be formed at certain points along the string, potentially enhancing some harmonics while dampening others. If positive nodes coincide with the sensing area of the pickups - given the short wavelengths of many of the harmonics of the fundamental that also seems likely - within the complex waveform of the vibrating string there are likely to be positive and negative nodes at different micro-frequencies with some, therefore enhanced and others diminished, without breaking the law of the conservation of energy. But as others have said, a bass sounds good if a bass sounds good and it’s core tone is a sum of the various parts (including player and playing style). It’s not simply attributable to one single factor and the organic nature of wood and potential variation in physical properties within one species - or even one tree/plank/piece of wood - means the effects on sound aren’t reliably predictable purely on the basis of species name (the usual contention at the heart of most online tone wood debates).

This is a logical fallacy though, isn’t it? The statement implies (or seems to from reading and rereading it) that only additive “resonances” would make a difference to the tone/sound/frequency spectrum coming out of the instrument output. EQ can be subtractive as well as additive, after all. If, for simplicity’s sake to demonstrate the point, a body material attenuated all frequencies below 200hz that bass would sound thin. If another body material attenuated all frequencies above 500hz then that bass would sound woolly in comparison to a (theoretical) perfectly non-resonant body. Those subtractive resonances change the tone coming out of the instrument (the instrument being taken to comprise all construction materials, the construction itself, the hardware, the pickups and the wiring).

In a jazzy mood while making dinner. Just had Dave Brubeck’s Time Out album and now The Sidewinder by Lee Morgan. Love this tune!