dclaassen

Challenge accepted....post some examples and find out if we can tell. In my Master's Degree program, we had a Physics of Sound course taught by a member of the Physics department. He held up two tuning forks (remember those?) ...one at 440 and the other at 442 and stated that "no one can hear the difference between them"....almost all the trained musicians could. "Good musicians" can hold the beat steady enough to make great music. (they also practice with a metronome, but don't play with one). BTW, recording is a whole different thing.....

I personally don't like idea of playing to a metronomic click. Musicians practice to a metronome all the time, but that, IMO, serves a much different purpose than group performance. I really find it hard to listen to a lot of computer-enhanced music, because the beat is so lifeless. Live music is meant to flex with the emotional feedback you get from both it and the audience. I was watching a live Skynard performance the other day, imagining how awful that music would sound if played strictly with a click track. To me, the final evolution of this trend would be no live musicians, just set your laptop up on the stage....it'll be perfect every time.

78-88 for me…great rock, jazz fusion, country/southern rock…I was playing a lot of gigs….good times

Nice tone!

Great discussion! Application has a lot to do with your selection of instruments. If you are recording, or playing a lot of gigs where FOH is being professionally mixed, then a P bass is a great tool. Sound engineers know what to do with it, and so will usually give you a great sound in the mix. However, if you are playing in a band where the sound is "mixed" onstage by one of the guitar players, and you are in a wide range of venues, then I think a J bass or some kind of active bass is better, because you can shape the sound on the fly. I've gone to using active basses almost exclusively (except for the fretless). If I ever got into a situation like the first one above, I'd most likely buy a passive P bass, depending on the needs of the sound guy.

I also had one of the Music Man HD150…best amp ever and I was a fool to sell it on….

Yup….just come on the downbeat….

So, it might be an easier list to make of composers/performers who are NOT "problematic"..... At the end of the day, if you are only pushing your own narrow agenda to the extreme.."I won't play such and thus because he's a dirty conservative yob".....maybe you are not really as open-minded as you might aspire to be...... "He kicked a turtle when he was 2 years old"........also probably not that important.....

You sure about that?

My last band that played this got grumpy when I played in the verse.....

Maybe I am in the extreme minority, but learning a lick that is iconic to a song ("I Wish" comes to mind) and then working it out so it is accurate and so I can play it correctly every time is part of the fun. Yes, granted "All Right Now" is not high art, but lots of folks come down to the venue, dance, have fun, buy drinks, and generally make the landlord happy which is, for most of us, the ultimate point of the exercise. Is it fun to play "La Grange" for 20 minutes...not especially, but in some venues, it fills the dance floor. Happy people enjoying music is a good think, and I personally would rather play "Mustang Sally" to a full floor of happy people than something way more challenging to an empty room.

Opening up a whole new can of worms….what key is SHA in? btw, I think the op was actually after our help….sorry you all hate that song. I feel the same way about “Autumn Leaves”…:)

Bass part behind the solo…technically that’s all there is

Had to get the bass out for this….my take open a twice, open e to 2nd fret f# up to open a and back down then aaf#e then drone open while playing the chord up on 19/17 then 19/16 keeping rhythm with the open a played it incorrectly for years…

I’ve been here, but also am always grateful for the chance to learn new music.

I’ve had wear on the strings where I pluck, but the sound has not really changed. I use the nickel version..

And they last a crazy long time!

Champagne Jam Sir Duke Gimme Three Steps Stand By Me Any Western Swing The Way You Look Tonight

Probably 19, although I was playing in school from about 15. I got in with a veteran country band out on the plains of Nebraska. Yamaha 115 amp and a '68 fretless/maple P bass that, of course, I wish I still had.

Had an RD as well…wish I still had it. I think the neck did have a chunkier feel than a Ripper. Tone was so much better. There are probably beefier preamps out there, but I’ve never played one.

Not yet a gig, but had a lovely play around with “Revival “…4 piece band playing mostly 50’s and60’s rock. Used the Dual Showman and MPV..worked really well. Looking forward to the opportunity to gig with them. If so, I think the fretless could get a bit of work.

It is very nerve-wracking to start back up after a longish time off. Trust yourself and try to have fun!

I started on a maple board, then rosewood, then ebony. In almost all situations. I prefer the feel and tone of ebony

I like that idea....not sure about my band mates....