Dad3353

I've seen Les Pauls (and SGs...) busted in the same way when their hard case simply falls flat from its own height. A well-known weakness of the Gibson design.

Not good; not good, either of 'em. The headstock break will be an easy fix. Any decent luthier will make an invisible join; countless Les Pauls have suffered the same fate and been glued up (and so stronger than before...). The arm will heal, too, but it'll sting for a while. Maybe time to give up skate-boarding..?

Ha Ha. As if real bassists used plectrums. Huh..! ...

These were not high-value basses to start with. Apparently they got good enough reviews, but neither are directly comparable to the 'standard' p-bass or j-bass from the same stable. Nothing wrong with 'em; they are just different instruments, with their own specifications. No idea as to pricing except to suggest that, if you want one, buy one; if you don't, don't. There's not much 'value' in the equation; it's just a bass.

And yet so much stuff is costed at £2999, rather than £3000. A paradox..?

One could also suggest that these, many, great creators would, or could, have been so much greater had they had a bit more formal knowledge of their subject. Were (Are...) they great because of this lack of knowledge, or despite it..? I'd suggest the latter. There are, of course, worthy exceptions, but I can't think of many 'greats' that would have been less so if more knowledgeable, and many 'greats' who went on to even more creation after gaining access to peer knowledge, an education in itself. An eternal debate, with no absolute answer. Maybe in some ways comparable to the plastic arts created by the 'Naive' schools, compared to the more studious works. I know which I'd rather have hanging on my walls.

I'm not sure how many of those could really be called 'successful' above on a very local level, or even then. A few got recognition of sorts in their lifetime; not many, I'd say, in the Great Scheme Of Things.

Won't it help to know when you're passed the 'tipping point'..?

OK, a general call to arms.. Could everyone please post again if they've the firm intention of buying more than one set, please..? Those stingy beggars that only have two basses to equip may skip this, but if you're willing to acquire two or more sets, @ped will (hopefully...) be able to add up the total and (probably...) get over this 'minimum quantity' hurdle. The sooner that's done, the sooner the Economy will be able to kick in and produce these wonders. Put me down officially for three (3...) sets; let's get this ball rolling, and picking up speed. Thanks in advance.

'E' would work, taking us to the 'Eb' of the 'F7' chord..?

Playing an instrument and composing are two very different activities. Often associated, certainly, but separate. Being proficient at one has little bearing on t'other. I can compose a four-part fugue for brass, but would be incapable of getting much sound, if any at all, from a tube or trombone. A virtuoso brass player, may be unable to 'think' the trumpet part, or play timpani. Some knowledge of harmony, musical history, differing musical genres open the flood-gates for those intellectually interested, but don't help with finger positions on a double bass very much. The ideal is a combination of interests and talent, concomitant with a desire to work on all aspects, neglecting none. Just my tuppence-worth.

I'd play a 'B' or a 'C#', either when moving up from Cm7 to F7, or coming down from F7 to Cm7 (more likely the 'C#' going up and the 'B' when going down...).

Not really true; I've lost many a gig doing just that.

You do realise that those photos, although signed, cannot be used for blackmail..? Just sayin'; don't let that stop you ordering more tap washers strap-locks.

I think that you can count on multiple purchases from many of us. I'm banking on at least two sets, maybe more, and I'm a drummer, so ..!

No.

Good evening, Devon, and ... Plenty to read and amuse you here, and lots to learn and share.

Blo*dy pies, more like..!

From this perspective, there is, indeed, no real (as opposed to 'perceived'...) difference; one is only ever half-a-tone away from a musically-valid note. A duff note on the bass is quickly resolved by hammering or sliding up or down a fret (or semi-tone, if fretless...) and it'll fit, for sure. The rhythm has to be spot on, I'd agree, but that's easy on bass, too, as playing at high speed is seldom a requirement, and is, more often than not, even detrimental. Worst case is a couple of beats of sustained previous note, silence, or indeterminate 'plunk plunk' 'ghosted' notes to maintain timing but without any discernable tone. It's also 'only the bass', so it doesn't bring plagues of locusts if there's a duff note or two in the evening's set. If, on the other hand, the evening consists of only duff notes, it's the others fault for not giving you the correct score sheets.

The simple way to count out the acoustic main riff is to think '12312312'. It's easy enough to play a 4/4 beat to that, or a 'break-beat' waltz 3/4, depending on the result wanted. If I had to write it out as score, I'd write two bars of 3/4 and one bar of 2/4.

S'gonna cause a fuss when GuitarChat realise that they've been left behind (for now..?). Edit : Should have thought of having BC on one side, GC on t'other. Double the market for the one product..! No, no need to thank me; cadeau.

Maybe find time to sit down with the tots and read them stories..? Kids are greatly influenced by example; if they see their parents with books, there's a better chance of them doing it themselves. Just sayin'; no offence intended.