ZilchWoolham

Dirty Linen by Fairport Convention. The first two parts anyway!

[quote name='jezzaboy' timestamp='1496692132' post='3313283']
I think that could be the understatement of the week

Apparently, Tony Iommi sat down at the same table as Ian to have breakfast and the rest of the band looked on in horror, as Ian sat a one table and the band at another.

[/quote]

I think it's all a bit exaggerated, really. He's a typical introvert and he ran a tight ship but he's hardly Don Van Vliet. Let's not forget that for several years the band consisted of four chums from Blackpool grammar school + Martin Barre. And for what it's worth, I think I prefer to eat breakfast alone as well!

Peggy is indeed a fantastic player. For my money the best living bassist. Incidentally, he was actually with Tull for a longer period than Cornick, Hammond-Hammond and Glascock combined.

One could say I quite fancy him. He's my favourite bassist from my favourite band, my biggest influence as a bassist, and has recorded my favourite bassline (Journeyman) with my favourite bass tone (although certainly IA played a part in this as well)! Interestingly he is not, however, my first choice for profile pictures among Tull bassists.

SCHPLUNTSFK!!

[quote name='Beer of the Bass' timestamp='1495578169' post='3305099']
This is wandering of topic a bit, but does anyone have any idea where the use of "Thee" instead of "The" in band names comes from? I have always puzzled over this. It's a spelling that Genesis P.Orridge was fond of, but I don't know if it came from them.
[/quote]
I think it started with that stuckist bloke, can't remember his name though. I know Nardwuar is fond of it as well.

Take Three

Beans Again

Terry

Seldom Seen

[quote name='Bassassin' timestamp='1495467339' post='3303941']
It's a generic plywood or butcher block copy body - it's absolutely not 1969 because no such thing existed in 1969.
[/quote]
Can't have been a whole lot later they appeared, though, right? I suppose in '69 they were still a bit unshapely and not very Fender-like. By the mid 70's there were tons of them, though.

Siouxsie Sioux always looked both frightening and spectacular!

Dave Stewart... actually looks a lot like Eric Clapton.

[quote name='hiram.k.hackenbacker' timestamp='1495462470' post='3303906'] Although I've never heard of them, at least Central Line got their act together and colour co-ordinated [/quote]
They look like they're about to play the Mos Eisley Cantina!

[quote name='el borracho' timestamp='1495304881' post='3302887']
Looks to be a lot of black around the forearm cutaway - ply body???
[/quote]

Agreed - this is never a good sign. The body might just be from 1969, but if it is it's probably from Japan. And with the black around the contour, it's sandwiched at best, and could very well indeed be plywood.

On acoustic guitar I use a capo all the time, because I like to involve a lot of open strings, and I'd like to be able to do so in several keys. Also, open chords with a capo somewhere up high like the seventh fret have a very sweet and unique timbre.

As for bass, sometimes you'll find yourself playing bits that really wouldn't be particularly playable if you'd have to fret every note, and if you have to transpose it a capo would certainly be handy, but I've never had to use one myself for that reason. I have used one for another reason, though. A lot of Andy Rourke's parts with The Smiths were played on a bass tuned to F#, to match Johnny Marr's guitars of the same tuning. Out of curiosity, I've sometimes placed a capo on the second fret to get a feel for how he originally fingered those songs. None of them really needs it to be playable, but a tune like Barbarism Begins at Home did feel a bit more fluid that way.

Very impressive! Did it have a [url="https://www.youtube.com/watch?v=IfeyUGZt8nk"]buttery biscuit base[/url]?

You can indeed get a noise-cancelling J pickup, either two coils stacked or two coils next to each other, but like mcnach said it's not going to sound like a Stingray pup.

It's Hopper, isn't it? Wonderfully creative player!

I can't remember exactly what the circuitry actually did, but it came about because Moog and Gibson were both owned by Norlin at the time. Norlin also made the Lab amplifiers around that time, and I believe they had some Moog components as well.

Let it be known that I have a particular penchant for great song titles. They can be inviting, evocative, and poetry in their own right. A forgotten art form, in a sense. There are a few bands/artists who strike me as being especially good at this craft. Such as:

[size=4][b]-Pavement[/b][/size]

with songs like [b][i]Mellow Jazz Docent;[/i][/b] [b][i]In the Mouth a Desert;[/i][/b] [b][i]Frontwards;[/i][/b] [i][b]So Stark (You're a Skyscraper)[/b][/i] and [b][i]Lions (Linden)[/i][/b]


[size=4][b]-They Might Be Giants[/b][/size]

with tracks like [i][b]Which Describes How You're Feeling;[/b][/i] [i][b]When It Rains It Snows[/b][b]; I Am a Human Head;[/b][/i] [b]How Can I Sing Like a Girl?[i];[/i][/b] [b][i]Dead [/i][/b]and [b][i]Don't Let's Start[/i][/b].


I also feel that one of [size=4][b]Morrissey's [/b][/size][size=5][size=4]biggest strengths as a solo artist is his knack for titles like [/size][/size][i][b]In the Future When All's Well; Yes, I Am Blind; That's How People Grow Up; We Hate It When Our Friends Become Successful [/b][/i]and the wonderfully depressing [i][b]My Life is a Succession of People Saying Goodbye[/b][/i]. He also had some great titles with [b]The Smiths[/b], like [i][b]Barbarism Begins at Home; Shakespeare's Sister [/b][/i]and [b][i]Oscillate Wildly[/i][/b].

What are some of your favourite titles, or favourite artists who consistently deliver the goods when it comes to the former?

Really, really liking that headstock shape!

[quote name='No. 8 Wire' timestamp='1491234686' post='3271438']
Ah yes, quite right, should have read the question better. I was talking about the two halves of the P not PJ.

Could be an interesting experiment in there somewhere though....
[/quote]

I know some people do it with Jazz basses to get a bit more oomph. I reckon with a P pickup in the mix it would be more oomph than you could ask for, but I suppose it could be someone's cup of tea. Some crazy folk even wire humbuckers on guitars in series (again, the two pickups as well as the coils within the pickups). It tends to sound a bit... thick.

[quote name='EliasMooseblaster' timestamp='1491224064' post='3271315']
Hang on...does this mean that PJ basses are typically wired in series? This would explain a few things and possibly lead to me kicking myself...
[/quote]
[quote name='No. 8 Wire' timestamp='1491224649' post='3271322']
Yep, typically wired in series. I think there are some oddballs out there that aren't but I think its very much the exception. AFAIK anyway!
[/quote]

I'd assume the two individual coils of the P pickup are wired in series, as per usual, but surely the P and J aren't in series with each other? Wouldn't that sound monstrous? Or maybe I don't quite understand how electronics work.

[quote name='Jack' timestamp='1490881626' post='3268755']
If you just want the neck feel then it's easy enough to add a P neck to any jazz bass. If you want the full on precision but with jazz pickups then I think (and I'm happy to be corrected) it'll have to be a custom job. Plenty of people will make you one, [url="http://www.valentibasses.com/models.html"]such as the blue Valenti on the bottom of this page[/url].
[/quote]

It always pains me to see a legitimate business using Papyrus for their logo.

[quote name='No. 8 Wire' timestamp='1490885684' post='3268814']
Or one of these from Maruszczyk:

[url="https://www.public-peace.de/index.php/bass-guitars/maruszczyk/jake/4-string/508-jake-4p-c3pu-el-comandante130137"]https://www.public-p...omandante130137[/url]

Just turn down the P pickup volume and there you have it.
[/quote]

A damn gorgeous bass that is!

The Light Pours out of Me by Magazine. Quite a tricky one note riff in the verses.

I can't really afford to change strings too often. My last main bass had the same set of strings on for as long as I used it (roughly 2 years). When I bought a new bass it came with very heavy gauge strings made for detuning, and I really only play in standard, so I just removed the old strings from the old bass, gave them a thorough cleaning, and slapped them onto the new one, where they can still be found half a year later. They do sound very dull though.

Buzzcocks did a song called Mother of Turds, but it's only been released on a rarities collection. It was just Diggle, Garvey and Maher sat by a piano during a break in recording.

Passive according to the seller in the Q&A section down at the bottom. I hadn't heard of Graham Noden before just now. This does look a bit rough-hewn but if he's a master guitar tech I'd assume it plays well! I wonder if that's a DiMarzio in the neck position.

I haven't really inspected a Warwick all that carefully before, but I think I'm now starting to understand the appeal. The craftsmanship is very impressive. From the front it looks like a one piece body, yet from the back you can see it's a neck through. Most brands would usually settle for a neck and two wings, occasionally capped with another fancy slice of wood. This seems to me like they've scooped out the back to fit the neck, leaving the top intact, and it looks so seamless. I can't remember when I last saw a bass that looked so much like one unified piece. Even the way the fretboard tapers off onto the body is incredibly smooth. Bloody gorgeous that is!

Doesn't get much bigger than this:
[media]http://www.youtube.com/watch?v=kUhW6T5yzBQ[/media]

[quote name='Number6' timestamp='1487182042' post='3237859']
I like that in the FAQs they make clear about the working practices of the manufacturers and decent ethics. I feel that's important and would draw me to their products.
[/quote]

I do very much support this but unfortunately I was so repulsed I never made it to the FAQ.