Stub Mandrel

Better descriptions here, it associates frequency ranges with many adjectives. https://www.google.com/url?q=https://michaelrasbury.org/uva/images/notesimages/describingsound.pdf&sa=U&ved=2ahUKEwipxbbnjOODAxXuQEEAHWf1CgAQFnoECAQQAg&usg=AOvVaw23D_KEk0mDXYR0QPQBWawl

Found this at: https://www.audiophileon.com/news/how-to-describe-sound-an-audiophile-terminology-guide Common terms and descriptions used by Audiophiles Airy – Describes the space and openness of the product, usually associated with open-back headphones and live-sounding music. Analytical – A term used to describe a product that produces a high level of detail about the music being played back Balance – Usually, the tuning of the earphone. For example, a well-balanced headphone would display the attributes of not having one particularly dominant frequency, e.g., the bass, mids, and highs are all balanced. Bass – This is the lower-end frequency of human hearing. You can measure bass in quantity (heaviness) and quality (the clarity within the frequency). Other bass descriptors are muddy and boomy. Bloat – Bloat is usually present in the mid-bass. Bright/Brightness – usually displayed in the upper frequencies or upper mids. Brightness is a feature enjoyed by many but walks a thin line to becoming unpleasant due to the potential of treble peaking. Congestion – Sounds overlapping each other and poor clarity. Crisp – Clear Dark/Darkness – Usually where the higher frequencies are less prominent. Decay – How a sound/note/resonance fades away, i.e., the note decay was lengthy. Depth – How far away the instrument’s spacing is from back to front. Detail – The attention to a full reproduction with all sound/notes being audible and present. Forward – A more intense overall presentation of the sound. Opposite of laid back and relaxed. Fun – A usually high-energy sound with an emphasized bass. Harsh- is usually used to describe the upper mid to upper frequencies when you get too much treble, which is an unpleasant quality. Highs – The upper frequencies/ higher notes. Imaging – The placement and position of an instrument as interpreted through a product. Lush – A rich tone and usually with some warmth to the overall presentation. Microphonics – Friction sound heard in a headphone/Earphone caused by the cable's movement or rubbing. High microphonics = Bad. Mids/Midrange – The middle frequencies (usually the main body of vocals and acoustic guitars, amongst others ((see instrument frequency chart)) Muddy – Unclear presentation of a sound, the opposite of clean/clear. Natural – Sounds as it should, real and true to life. Openness – Displays good width and depth in the presentation, with plenty of room in between instruments. Punch – The impact and pop of a particular sound/frequency etc Sibilant – The high unpleasant peaks that are usually unpleasant to the ear if too prevalent. Signature – the overall tone/tuning of a headphone or earphone. Descriptors can be balanced, bassy, sibilant, etc. Soundstage – Described in 3d terms (height, width and depth) Timbre – The tone of a note Transparent – Similar to clarity, it is a clean, clear, open, and detailed quality. Warm/warmth – Engaging vocals, bumped mid-bass, and a clear, lush midrange.

This is self-evidently true, otherwise dep gigs would be impossible (let's discount sight reading). This is self-evidently true, if you already have an idea of the structure and character of the song you will learn it faster and may be able to 'busk' it. This is self-evidently true. I doubt there are many people participating in this thread who couldn't get "Tramp's Vest" down note-perfect, including the stop, after a single play through.

I made the mistake of thinking that because I was in my mid-30s and the drummer was in his 40s that the band I was in was unlikely to go anywhere. Sadly they seem to have imploded after I left, a great shame as the BL was an excellent songwriter and I reckon they could have had success in a "Beautiful South meets the Jam" sort of way.

I'm afraid I can't provide the requested information. Neither can anyone else, as we don't have a fuffin' clue what you are on about. May I suggest that instead you post something more provocative, such as "Young People Make A Mockery Of My Lifelong Musical Struggles," or "Nikki Haley Is Going To Eat Great Ormond Street Hospital Because America." These will be more likely to invoke a useful response.

Totally gratuitous, but just to keep things on topic :-)

I think I'm only in danger of buying PA gear this year... already out on tier 2 as spent a few quid on a cheap Behringer 4:1 line mixer.

LOL! I donated that as it had scarred me for life!

Probably borderline... they use a small font. Many will find it acceptable. The rules changed a year or two ago, in response to many egregiously long signatures full of images ("this is my bass museum...") so the maximum signature is three lines, two URLs and one image now. I think the offending signatures must pre-date the change.

Hey! My bass is as ugly as sin (and is crap in all sorts of other ways) but it sure sounds good!

The jury is still out here. The work on little super short scales but can look unbalanced on long scales IMHO.

I routinely ignore people signatures if they are more than a line or two long, especially the one that are a post ion themselves. I don't want to ignore all signatures, as I normally read even the long ones once. There's at least one mod with a very long sig (8 lines including blank lines) but I notice that unlike ordinary members, mods don't have ignore settings. Possibly this is so you can't ignore moderators? That's fair enough, but it would still be nice to ignore bloated moderator sigs...

Some amp response tests have been done at Bass Bashes, but I haven't seen any of the curves here.

Makes my point! To me Markbass is, but compated to Fender Rumble/Orange Crush/Ashdown.... Wonder if we could choose opposites and then rank amps between them?

The ability to learn fast is a skill to be learned. Now I have experience of jam nights (playing things blind with modest expectations) and depping (learning or refreshing 25-35 songs, with limited time, maybe no rehearsal with expectation of a quality performance) my attitude to bands learning songs has changed. I left a band after a year of honing things forever... The blues rock band I'm in, we will try and rehearse a song once or twice before playing it, but sometimes we will just jam something. This is largely down to knowing each others' style and habits so we can react on the fly; somee of our well rehearsed stuff is often different every time, although things like Radar Love are pretty much note for note every time. For more standard covers stuff, I think four or five new songs is perfectly reasonable for anyone, assuming a modest period to prepare. Ten is doable, if people are willing and able to put in the time, but some will struggle. Just two or three is barely worth the effort. As for number of rehearsals, just make sure they are for getting polished and used to playing together, not learning (the exception is if you all agree a new song and gave a shot at busking it).

Share youtube video links of the arrangements you will play. Note any variations. This is what I do.

We have lots of ways of describing the sound of different amps and cabs. Dark, bright, responsive, woolly, tight, spacious, aggressive, boomy, light, refined... It's also apparent that many brands have a 'sound'. Possibly Orange is classic UK without being heavily distorted. Trace Elliot is clean and scooped. Markbass is very clean and flat. Or not... It would be interesting to try and get some easily understood interpretations of these terms, that make them easier to apply more objectively. Armed with such terms , then to profile popular amps to help people visualise what they actually sound like. Thoughts? Definitions? Characterisations? Just share ideas for now, organisation might come later!

Hi, it was the Marquis Arms. Looks like I may have 2 or 3 more later in the year over your way. 👍

It is wrong to suggest that looks aren't a factor. An instrument could be the finest, well crafted, hand finished, Smithsonian worthy example of its kind - if that instrument is a Jazz bass, it can get in the bin. Thing is looks are very much personal taste. Show me an Alembic covered in points, twirls, inlays and an overabundance of knobs and I'll reject it out of hand as fugly steampunkery. But I have no doubt it would play and sound great.

Dep over the far side of Swansea, hours drive each way! Most of the setlist was playing on the jukebox, which showed that we were going to go down well. Fourth gig for this band so all went ok, broke my 'number of bvs sung' record! Took my little Hohner B2 as backup, played four or five songs on it for fun. It's LOUD. First time I've gigged it since the 90s!

Presents I've given and received included Blackstar Bass Amplug, Joyo 10w bass amp, custom embroidered strap, Blackstar Fly extension cab, various pedals. Also, don't underestimate how nice it is to have a REALLY good lead or two. Another idea - no musician should be without a decent mic. An SM57 or SM58 will do for miking up and vocals.

I had a Squier bass where thetruss rod would slacken over time. I realised the anchor at the body end was pulling into the wood. There was a small gap at the end of the skunk stripe in the heel (I had expected to need to drill it). I slackened off the truss rod and pumped in a good dose of cyanoacrylate to reinforce the wood and the anchor. Several years on it hasn't had to be adjusted since I sorted it.

The way I play Can't Stop, in the bridge there's an F# on the 14th fret I struggle to reach with my little finger. I could play it on the A string or use my ring finger but habit... Usually in this situation I just swing the neck more vertical and that allows me to reach round.

Get some baggy slacks 😎

I've said this before... the correct strap length ensures the buckle rash is centred on the back of the body.