RhysP

Funnily enough the one exception I would make is that a Precision HAS to have a maple fingerboard, rosewood just looks wrong on a Precision to me.

Did your playing suffer because you had to use both hands to take the battery out of the pedal?

I'm not insulting anyone, Just thinking out loud. I've certainly done the obsessing over rosewood/maple/whatever things I mentioned in my post when I was younger. I was pretty certain I could tell the difference too. What changed was I realised that it was completely unimportant to me, and nobody else gave a damn either. 😂

But does it mute the sound differently to, say, turning the volume off on your amp or bass? I find the point in the signal chain at which the sound is muted has a massive effect on the type of silence produced.

Cardiff Castle!

Sorry, I'll try harder next time. 😂

I also think a lot of it has to do with people wanting to find technical reasons for liking something, and if they make a change with their gear they have to justify it someway that sounds a bit deeper than "I like the way that looks". Saying that you bought something because you thought it looked nice is OK if you're shopping for curtains, but not basses & guitars. 🙂 I played Zon basses for years (long term members on here may remember my lovely pair of Zon Legacy fretted & fretless basses) & if I'm honest when I was playing them I wasn't even really aware of the difference in feel between the carbon fibre necks on them & the wooden necks on my other basses.

I wasn't being entirely serious...

You must have been able to hear that you were more in tune, surely..? 🙂

I'm exactly the same. For many years I preferred the look of maple boards, now I tend to prefer rosewood & ebony. Based on my 40+ years of experience playing bass & guitar I'd say that the type of frets used has a far bigger impact on the feel/playability of an instrument than the fingerboard material.

Naturally. It could quite easily have fallen flat though...

A tuning fork?

This. Also, Clapton & Gilmour have done plenty of bending on rosewood fingerboards. Gilmour's "Another Brick in the Wall pt.2" solo was recorded on a Les Paul with P90s, and I've seen him bending notes on a Gretsch DuoJet just as easily as he does on a Strat.

I have many hours of recorded music that nobody will ever hear. It wasn't created with the intention of anyone ever hearing it. The process of creating & recording my own music gives me great pleasure, something I never got from gigging or working with other musicians.

This is the basic issue I have with them too. Never had problems getting them to track, I just think they sound terrible. They sound bloody awful on all the classic tracks that get wheeled out to show how great they are IMO. Sledgehammer, that Paul Young/Pino thing - I think they all sound terrible. I have five Moogs & believe me they all sound a million times better than a bass through an octaver. 🙂

Sounds like stinky poo & he's incredibly irritating.

If this is meant to change my mind then it's failed miserably. 😂

There was no price on it, and even though they begrudging let me have a fondle of it for a few minutes they just said "You can't afford it" when I asked how much it was.

Big wodge of foam in the pickup cavity. It won't damage the wiring.

Is that a Sunn Beta clone? Recognise the layout from when I had a Sunn Beta combo in the early 80s.

Currently there is a Lutheran on my rack, but I'm pretty sure he's close to converting.

They actually had Greg's Alembic 8 string for sale in Andy's in Denmark St. many years ago. It was a beast!

Beelzebub - Bill Bruford.

I've yet to hear an octave pedal used on bass that I didn't think sounded bloody awful. I have a load of Eventide pedals that I use on keyboards & guitar & even the octaver on the Pitchfactor sounds bloody awful to me. Same with the ones built into amps. I loved my old Ashdown ABM combo but the sub octave thing was utter shite to my ears.

Don't Do Me Like That - Tom Petty & The Heartbreakers