Dad3353

When playing bass, it's usually a four, as that's what I have most to hand, but the fiver and (fretless...) six get their turn too, when the need arises. I don't think or play in 'patterns'; I play notes, intervals, chords and melodies, so the number of strings makes no difference for me. I'm far from virtuoso (on bass; I'm a drummer...), so optimising finger movement, high speed or slap/popping are not part of my repertoire; I just go from one to the other (and guitar, or a bit of keys...) without even thinking of these little (to me...) details. Simple, me..? Yes sirree..!

He rolled a double, so gets another go..! ...

We're 'straight to amp', too, but we leave the bass plugged in during pauses between sets. We have to change the battery every couple of years; battery old age and leakage is more of a concern to us than it going flat. (The amp has a 'Standby' switch for these occasions, but that's another matter...).

Here is my contribution to the September 2023 Basschat Composition Challenge, illustrated with a picture chosen by Doctor J. It takes practise to give the Gift of Fire; this is not his finest attempt ... An intellectual exercise, here. Inspired in three parts : the well-known Greek myth of the creation of Fire, set to music using Alexander Scriabin's Mystic, Prometheus chord, with libretto stolen (like the Fire...) from Schubert's 'Prometheus', by Goethe (very freely translated, and supplied below ⬇️ ...). Philharmonik for the instruments, playing the Mystic Chord using RandARP, Jennifer for the philosophical outpouring. My usual Cockos NY 'glue' with Reaper, of course; what else..? Thanks for listening, if you already have; if you're about to, enjoy. Libretto ... Cover your sky, Zeus, with cloud mist and, like the boy who beheads thistles, practice on oak trees you and mountain heights; But you must leave me my earth and my hut, which you did not build, and my hearth, whose glow you envy me. I know nothing poorer under the sun than you, gods! You live meagrely on sacrificial taxes and breath of prayer, Your Majesty, and would starve if it were not for children and beggars, hopeful fools. Since I was a child and didn't know where to come from, I turned my stray eye to the sun, as if there were an ear over it to hear my complaint, a heart like mine to take pity on the oppressed. Who helped me against the titan's arrogance? Who saved me from death, from slavery? Didn't you complete everything yourself, with a holy glowing heart? And did you glow young and good, deceived, giving thanks to the sleeping one above? I honour you? For what? Have you eased the pain of the burdened one? Have you stilled the tears of ever the one in fear? Has not almighty time and eternal fate forged me into manhood, my lords and yours? Did you think that I should hate life, flee into deserts, because not all the blossoming dreams ripened? Here I sit, shaping people in my image. A generation that is like me, To suffer, to cry, To enjoy and rejoice And not to respect you, Like me!

Until there's an emergency and no-one can call out. Yes, it's illegal to block 'phone use in that way.

It may be a bit different for drumming, but, back in the day, I had to write out my own scores, as there was nothing else around (pre-web daze, naturally...). This, plus the reading necessitated by going through the rudiments and drum methods, made it very easy to 'busk' pretty much everything I've come across since. I listen once or twice through to a SOAD track and away we go. A lot of the simple stuff (Charlie Watts..?) requires no study at all. I don't read scores at all any more (but I keep going over the rudiments from my books, just to keep it fresh in my head and hands...). On bass, I read very slowly, so, for the most part, I'd play it by ear, unless there's a particularly important line to play. I think the last one I 'read' was 'Message In A Bottle', quite a while back.

It was never a 'thing', for me, at any time. My ambitions were, and still are, far more modest (and in keeping with my abilities...). I was playing professionally in variety bands in France for some years, but took other employment once family matters became the priority; I've kept on playing ever since, but as a sideline. Fame and fortune have never been an objective. It may be called complaisance, but I don't think I've missed out on much. I spent several years doing sound and lights for a professional touring band, as a 'hobby', and wouldn't want that lifestyle at all. Happy bunny, really.

'Report' the double post and a kind Mod or Admin will oblige.

Very rare footage of the original models for the Anderson 'Thunderbirds/Stingray/Four Feather Falls' characters, chilling out ... It's worth tapping one's foot to the drum solo, maintaining the 5/4, to see how it comes back in, spot on the beat. Class.

Sigh..! IPad SchmIpad ... You only have to paste the 'Share' link into the BC editor; it's not brain science..! ...

Schubert's Ninth...

Are you sure you're not getting mixed up between gain, drive, overdrive, distortion, boost, grit, fuzz, crunch and dirt..?

But... There's nothing against making a system whereby increasing i/p gain (thus over-driving the i/p stage...) reduces to a similar degree the o/p, so that the perceived o/p level remains constant. Would that be so difficult..? It can be done manually (increase the gain, then turn down the o/p...), so why not an autopilot for that..?

Don't get angry with me ...

The late Spender Dryden, rolling tape in the studio whilst waiting (in vain...) for the others to arrive and continue 'After Bathing At Baxters'. Certainly not the 'best' track on the album, but not without merit.

Nothing. ... ... ... ... ... ... ... ... ... ... ... ... ... I'm a drummer.

Can you record on two tracks, one 'dry', the other with (too loud...) distortion, then mix to your taste in playback..? It's quite 'normal' to mix from several tracks to get the exact tone required. Just a thought.

I don't doubt this ^^^^ for a second; it was the 'therefore' that I found odd, implying that every different band necessitated a different bass, just because it's a different band. No issue otherwise; rock on..!

Hmm... I would question the 'therefore'. In my rather long drumming career, I wouldn't like to even guess how many different bands and formations I've played with; I have always used my (admittedly very excellent...) Camco drums for all. From Big Band variety, 'typique' Caribbean calypso, musette, pop/rock, folk and more... It's all in the fingers, you see. If I had to have a different kit for each different genre, I'd need a bloomin' big cottage..!

Nah, the string tension had caused the front to collapse, probably gently over time, but I can't see what could provoke such a state except damp, and a lot of it, too..! These guitars and basses are not prone to this (I have several archtops, both basses and guitars...), and that's the only time I've seen one in this state. Where is it now..? Gone to join McCartney's violin bass in the sky..?

How long have you got..? Late '60s, we ( a younger brother and I...) were looking for guitars and/or amps, but with a budget of... Well even less than that. We had heard of a second-hand shop in Hampton Wick; it turned out be be rather the front parlour of a terraced house, stuffed full of all sorts of 'tat', and hosted by one Mrs Nichols (spelling..?). Despite the ... er... 'low quality' of the offerings piled around, the asking prices were rather more than we had in mind. I did manage to unearth a slightly-less-battered guitar case, in which resided a Hofner E2 Florentine President, which, after much haggling and starting to leave, became mine. I can't remember the price now, but it was expensive to me at the time. It has its own story for another time; back to the bass. On a wall hung a Hofner Verithin bass, which intrigued me until, upon closer inspection, it could be seen that the belly of the bass was not convex, but concave..! Probably due to water damage at some point, and a very difficult thing to repair; the poor thing's fate was sealed by a price akin to a new bass..! We left, with me clutching my new find, but the vision of that bass has stayed with me ever since. Fast forward a few decades; I was now in France, and had acquired a Hofner Verithin 6-string (another boyhood dream guitar, and very excellent too...). I came across an ad for a Verithin bass (they are quite rare, especially in good condition...) in Nottingham. I contacted the Seller (this is pre-interwebs daze; postal correspondance was the thing...). I reserved it, and came to the UK as a foot passenger on the ferry. Another younger brother picked me up from the coast, and drove me up country to see this bass. The Seller wanted only cash, so we went to a local bank for me to draw out £500, and the bass was mine. Back to the coast the next day, with the bass in a very lightweight gig bag. I couldn't resist playing it on the deck of the ferry as we crossed the Channel, to the amusement of other passengers. After a few months I renewed the black nylon 'Trubass' strings, which are still on it now. The bass is currently hanging on the wall just behind my head as I type this; I only have to reach up to get it down and play. It has done its fair share of gigs in past years, but I only use it now for playing at home and recording (I'm a drummer...). I have other basses (and guitars...), but this bass, for me, is 'the One'. Douglas

Yes, and I can ...

What have you done with the real TimR..? Is he OK..? Is this a ransom job..? ...

A long-standing weakness that I must try to overcome is my excessive modesty, without which I'd be perfect.