Munurmunuh

Hearing this makes me feel a bit less worried about the 7½ weeks my bass from the US has taken so far 😓

The list prices for these basses are a bit hard to understand: most the Powers (40mm nut p bass) are £400, but a couple are £500 the Jives (38mm j bass) are 50/50, seemingly at random - eg the solar flare standard is £500, but the solar flare lefty is only £400 the Detroits (43mm nut) are all £500. the signatures are mostly £500, but a couple are £600

When you phrase it like that, you make it sound as if the two different journeys are reaching the same destination. If you want something that sounds confected, then you have to get confecting. If you want something natural, you have to get the real deal. A professional singer being able to deliver in both environments does nothing to make the two environments any closer to each other.

Which is why it sounds as fake as everything else laboratory manufactured by people who never look into the eyes of an audience. Free world, people can make whatever noises and listen to whatever noises they like, but to imagine that^^^ sounds anything like, say, would be [REDACTED]

Was the A neck available before the Jazz was first released?

The good thing for performers about recorded music being so artificial these days, is that it for the audience it accentuates the difference between recordings and the live experience. Encountering music that is being made live is thrilling different to the music that wallpapers daily life. The more blandly perfect recordings become, the more exciting live performers seem. Even the boring ones.

When pitch correction came in, the average singer in the top 20 was suddenly a lot better looking.

With dainty enough hands, it's possible to find quite enough difference between just 38mm and 40mm. That sensation most people get when playing an old-fashioned 1¾" 50s P neck, I got just crossing that minuscule chasm from 38mm to 40mm 😅 Felt like being a kid arriving at big school.

Modernist .... or just modern?

Someone was recently happy with another from their range: https://www.basschat.co.uk/topic/445640-bass-collection-power-bass/?do=findComment&comment=4377310

Or wind them up. "Are you gentlemen talking about the modern 1⅝" compromise, or the true 1¾" Precision neck?" Or start talking about nitro finishes 😈

I like a nice taut string, only have to roll one squishy fingertip over it and it comes alive, a lovely vibrant sound.

The purpose of a neck is to keep the string taut. Is it unreasonable to think that the construction of the neck will make minute differences to how it does this? I can't see how it is. In this particular discussion, though, they're missing half of the factors. One dimension is consistent, the 34" scale, and they talking about the second dimension, the nut width. But there's no standardisation for the third dimension, the depth: the specs for both J and P necks vary enormously but are rarely given. Also, no account is being taken of how the neck is constructed, or what else is in it. It seems to be reasonable to say, the neck impacts the behaviour of the vibrating string, but to reduce that complex issue to just the width of the nut ....

Just 32 weeks and 3 days since my order was placed with the factory....

Well this has been fun 😃 Here's what mine was:

Five bar pattern (semibreve-minim, semibreve-minim, semibreve-minim, semibreve-minim, minim-minim-minim) repeated nine times. Late 17th century, and still regularly performed today.

When I was a kid playing the guitar, I had two rules: it shouldn't be worn high up and also had to be horizontal. iirc I felt that a rising neck looked twee. Yeah, I know 🙄 The moment I put a bass on, all that had to go in the bin - I wouldn't be able to reach the nut otherwise - but that preference for my right arm hanging loosely down to the strings, nice and relaxed, remains. Heaven knows what my teenage self would have thought about the tuners being level with my eyes.....

Yeah I was wondering if the deal was the same in the other direction if using Parcelforce/USPS. I wouldnt be tempted to find out, that's for sure. I think its 7 weeks today since my bass was mailed in Virginia.

Play it at ×1.5 and sounds suspiciously like a normal conversation

I'm really not joking when I say, this needs playing at ×1.5 speed. Really.

I'm longing to read someone saying they've tuned their six-string B-D#-G-B-D#-G so that is literally true: 4 fingers, 4 frets, 4 semitones, and then up to the next string. A seamless legato line effortless in every context, with the range of a five-string. Relearning the fretboard would take more than a moment, I suppose, but at least the top 3 and bottom 3 are identical? I read that some mid century jazz guitarist tuned an 8 string guitar like this to facilitate playing atonal music.

I found this thread because I was doing a search for Fresher basses - theres an interesting thread on TB started by a Britisher who's got a MIJ Fresher p-bass: Fresher Electric Bass ("my friend bought it off an old Sabbath roady (apparently)") I was wondering how much these instruments sold for when they were new, relative to the price of Fenders etc. Were they around in the late 70s, just after the sterling leapt down the 🚽 ? That E string looks like it could tell a few stories.

Nice they think you're worth it

Trying to read up on the specific qualities of different strings is like juggling 🤹‍♀️ wet 🧼 bars 🧼 of 🧼 soap, but I've got the impression that within the world of nickel coated steel those GHS Boomers are similar to Roto Bass or Elites Players. I'm enjoying these pure steel Swing Bass, but once my G&L strung with them finally makes it through the postal system, I might go back to the Boomers or something similar on the BB - they just seemed so well matched to the character of the 424 when set to both pickups: the result was a nicely obvious rich tone, straightforwardly pleasing. Not harsh or crude, but not built for subtlety.