JellyKnees

Personally, I think it depends on what type of band it is. If it's covers band whose main raison d'être is making money, then I wouldn't worry about it. If it's originals where your particular style and sound is key to the overall sound of the band, then I would argue it's an entirely different matter...

Love the arrangement, it has a sophistication the likes of which I have rarely heard in popular music.

When it comes to non-coated round wounds, I've yet to find any make of strings that don't loose enough of their harmonic overtone content within around 2-3 months to require me to change them. I'm currently using Newtones on my Dingwall, and they are as good as any string I've ever tried, but 3 months seems about the limit to me. This is obviously highly personal and relates to my style playing, which relies on a high degree of clarity , growl and snap. Other players with other styles are clearly able to happily use the same strings for far longer than me. Lucky them.

Watched this at the weekend, I thought it was an excellent documentary - lots of interesting stuff relating to his early days which I didn't previously know a great deal about. Some good talking heads too, with the huge respect he has from all the other guitar greats of the 60's/70's clearly evident. I got into him in the early 80's when my then band's guitarist lent me a copy of Wired, which is still probably my favourite album of Jeff's. I've seen him live twice at the Manchester Apollo, once on the Guitar Shop tour with Bozzio/Hymas and more recently with the Tal/Vinnie band, which was just extraordinary. He's one of those players who oozes musicality and genuinely makes the hairs on the back of your neck stand up. Not only that, but he comes across as a totally unpretentious and down to earth bloke. Good stuff.

Nice boots...

I don't know how she does it.... It's a mystery

Money money money...

A classic from the mighty Grace Jones featuring some more fabulous Sly & Robbie groovin...

I don't really get it. Are people really suggesting you play better if can feel the vibrations as well as hear them? I don't play much at high volume anyway, so perhaps it's not for the likes of me. I can think of some interesting alternative uses for it though...

That's un oeuf of that... sorry

What we need is a bit of Matt Johnson...

Yes, 'just bass' will do, if nothing better comes along first, spoons, zither, bagpipes etc etc...

Not sure if this is a p*** take or not?? https://www.joinmyband.co.uk/classifieds/sad-banjo-clown-needs-backing-t1071414.html

I have done in the past, although generally only when I had an amp with a built in compressor. Currently I have a board with 8 pedals on it, including a comp and tuner. I use them fairly sparingly, but I like the additional textures they offer. I could play everything happily without them though...

No news is good news...

Shpeek for yoshelf

What ever happened to Montego biscuits though? Ginger AND chocolate... god we were spoiled in the 70s.

I've started using flats to record with on certain things lately, I really like the punchy fundamental tone that they have. When it comes to confectionery, I generally prefer a finger of fudge myself...

It's a great way of adding expression along with slides, pulls, hammer-ons/offs, slaps, taps, etc etc etc... Why would you not do it?

Yes, because being popular is where it's at. Personally, I'd just as soon listen to the Reynolds Girls that any of FMs turgid nonsense...

He always struck me as a colossal bell end.

I'd rather jack...

Guitarist - a nice guy and a pretty decent player, but... He suffers from the usual guitard volume control issues. He has 2 amps, one for lead and one for rhythm (as you do), with an extra extension cab thrown in for good measure... it is quite the 'wall of sound' at times. He also has a pedal board the size of a small principality. Invariably, as part of his low grade river dance performance, he will hit the wrong pedal, usually during some critical point in a quieter song, creating the sound of a flock seagulls being macerated by a combine harvester. The sheer number of pedals (20 +, I tried counting them all but got bored) also results in frequent patch lead/power failures, again leading to new and exciting 'sound textures' in unexpected places. At rehearsals, he frequently launches into an unnecessary solo performance of some dubious cover version (Phil bloody Collins anyone?) between our tunes, and seems to find this highly amusing. We are an all originals band. No one else is laughing much. Like I said, generally a nice guy, but hard work at times...

What a sophisticated argument. You have won me over.

I answered no, because I don't believe I would be able to fully employ all of the subtleties and and inflections that I (try) and utilise in my playing properly on a budget instrument and it would frustrate me far too much. Perhaps I've been spoiled, but I've been playing high end gear since the early 90's and whenever I've played a budget instrument (usually in a music shop when trying a pedal or amp), I've found it an fairly unpleasant experience. I could technically do it, but it would be missing a significant percentage of what I actually play, and would be a thoroughly hateful experience.