topo morto

Thanks a lot for the string! Top chap.

I know little of jazz basses but this moon fits your budget... [url="http://basschat.co.uk/topic/155726-moon-jazz-bass/"]http://basschat.co.u...moon-jazz-bass/[/url] [url="http://basschat.co.uk/topic/155726-moon-jazz-bass/page__hl__moon__fromsearch__1"][/url]

Get an upright!

[quote name='Doddy' timestamp='1319547553' post='1415531'] The majority of Blues music (style) is played over moving dominant 7 chords which contain a major 3rd (chord tones I,III,V,bVII). [/quote] I've always thought of this kind of motion as almost a transposition of the whole piece in place of the more mild chord changes that you get in other styles... another example is the effect you get in drum and bass/techno of a single, sampled minor or major 7th being played at different speeds, and thereby transposed.... just riffing here, no questions this time

[quote name='Doddy' timestamp='1319543012' post='1415403'] Maybe. I often hammer from the minor to the major third,but that is now adding a slight tension and is used as a short passing tone. It doesn't make the third ambiguous though because it resolves,and the harmony becomes clear. Regardless of if you bend a note or what,the Blues scale is always minor. [/quote] But you can bend/slide up from the minor to major third - or close to it - and just leave it at that, without it being a passing tone. Depending on the context, why would that necessarily be regarded as a tension that needs to resolve? Or would you consider that to be playing outside of the blues scale , even though it's something that would be thought of as blues style?

[quote name='Bilbo' timestamp='1319541037' post='1415341'] The major/happy, minor/sad 'tool' is for children. As with most teaching, in order to explain concepts, teachers of young people give a simplified/digestable version of the concept in order to get it across. If you explain a major scale as happy to a 9 year old and then throw in a truckload of caveats as to why this is not always the case, you confuse rather than educate. Its like when you explain to a 5 year old that their kid brother is growing 'inside Mummy's tummy'. It helps the kid digest the concept in a way that makes sense. In music, throwing all the exceptions in when trying to explain the concept of differences in sound between major, minor, Dominant, Augmented etc is too much information at one time. I have to say, the happy/sad thing never made a shred of sense to me anyway [/quote] The problem is that once you get past the stage where your favourite songs are nursery rhymes, it's too much of a simplification, as straightforward use of the major scale isn't really 'where it's at'. There are plenty of books for grown ups that say pretty much the same thing, too... [quote name='Doddy' timestamp='1319541201' post='1415347'] The blues scale doesn't have 'ambiguous thirds'-it is clearly a minor Pentatonic with an added flat 5 (I,bIII,IV,bV,V,bVII) [/quote] Ambiguous is probably not not be the best word... but in performance is it not common to bend from the minor third towards the major?

[quote name='cytania' timestamp='1319007640' post='1408722'] I guess most music is standard major scales. Certainly when I play the major scale at various points on the neck all sorts of melodies come to mind (or is it that they come to my fingers?), usually old hymns, children's songs and national anthems. [/quote] This is one place where musical education (the type that starts off by telling you 'Major=Happy, Minor=sad, and, er, that's all folks') is a bit unhelpful - because straightforward use of 'the major scale' is not as common as you'd think. You'd associate it with crappy boy band songs, and as you say, old hymns, children's songs and national anthems; comedy songs... that kind of thing. you will often find that happier sounding music is in what could be described as the mixolydian mode - it's the same as major, but it has a flattened 7th. There's an interesting crossover between the Major scale, the mixolydian mode, and the blues scale with its flattened 7th and ambiguous thirds... they're all good friends really.

[quote name='cytania' timestamp='1318966804' post='1408435'] How do they teach this stuff to children? [/quote] They told me, "There's just major and minor. One sounds happy the other sad." B*stards.

[quote name='bassman7755' timestamp='1319464740' post='1414362'] You realise that the bottom f# is only 23hz - I think only crocodiles and certain species of whale would get the benefit of it [/quote] I thought human hearing goes down to 20Hz, ish? I know getting a speaker / room system to 'do' that frequency is going to be hit and miss, and mostly miss, but there's always overtones! And it's called the 'bass'.It should be able to go all the way to the bottom! I quite like the idea of using the bottom string as an 'non-playing' anchor when playing with fingers, so that I can always anchor on a string - but why not try to have it follow the pattern?... and there's that old chestnut about positional flexibility - low E at 10th fret, anyone? Plus, I like certain species of whales...

Anyone tried / considered taking a stock 5er and stringing it F# B E A D? I'm imagining that 35" scale length is helpful, as would be a front-loading bridge to save trying to thread a ridiculously large string through. Yamaha RBX 775 looks like a possibility? I'm also not sure about the logistics of getting that low string on... I guess I was thinking of ordering the warwick dark lord strings... hence why I thought 35" scale length would be the thing. Of course the idea might be idiotic - any wisdom welcome!

I don't own the ME50B (would like to!) but so only semi-obvious suggestions...: - get as much high frequency out of the guitar as possible; turn the level up as high as you can without it clipping the input, and turn the treble up if it has an active EQ - get as much high frequency out of the ME-50B as possible - open filters wider, choose brighter distortion settings and ones with higher gain (which will generate more HF) To be honest I usually quite like guitar though bass effects... try digging the offbeat vibe!

[color=#000000]Goes through at quite a slow pace, introduces basic techniques, tab, music notation, styles, scales...[/color] [url="http://www.amazon.co...19376446&sr=1-1"][color=#000000]http://www.amazon.co...19376446&sr=1-1[/color][/url] [color=#000000]The pace is a bit slow for someone who has already learned another instrument but could be great for a youngster (or anyone) starting on bass.[/color] [color=#000000][size=5]GONE[/size]. Thanks![/color]

Free!

Copy of the Tech21 BDDI drive/eq pedal. Got this off ebay - only worked on battery - fiddled with it a bit and it started working on psu... now it's in battery only mood again, not much good to me! Might be an easy fix for someone to get it going properly, or if you use batteries anyway, it's a great sounding pedal! [b]Now gone - thanks.[/b]

Very happy with the Aphex Bass Xciter that I just got for a very fair price... arrived pronto, and packed well enough to keep the ba***rds from smashing it (not that that is an apt description of the kind Royal Mail staff who so regularly bring me such toys)... Many thanks!

Sold an Aguilar stompbox to Nyl - the pedal might have been an 'Agro' but the transaction was very easy and smooth. No problems at all and would definitely deal with again. Many thanks!

Sent me a free DOOVDE and some violin strings - what a smashing chap! That's a couple things I've 'clamed' from the recycling forum now, should chuck a couple of things in myself Cheers!

I have neither at the moment, but have owned both. The BDDI is all about big, thick, bass and glassy highs. The distortion is thick and smooth, and then, as you push it, a bit buzzy. It has a big mid scoop about 800Hz, which I and many others like, and many hate. The Tone hammer has a sweepable mid EQ and gives you all sorts of control over your clean and drive sound for that reason. It can be much more transparent, almost entirely so, depending of course on how you set it. It's quite big compared to the BDDI, which was why I flipped mine - too big to throw in a gig bag. A tone hammer in a BDDI size case would be heaven for me... mind you, sometimes it's nice to get a bit of heft for your money.

Ah well, worked for me, thought it was worth a try. FWIW I [i]think [/i]things are working OK for me ATM...