Dad3353

Has rather a ring of Nu-Fusion to it, though. Progressive enough, and more than a tinge of Rock. Not enough cowbell, but... Whatever.

But Fusion is Progressive Rock..! Isn't it..? No..? Oh..!

Hmm... '... C’est une œuvre à la destinée singulière que la Fantaisie variée pour piano et orchestre, écrite à destination du pianiste Raoul Pugno. Singulière à plus d’un titre : reprise quelque peu après sa création en 1913 (dont à Paris, aux Concerts Lamoureux), puis tombée dans l’oubli ; jusqu’en 2009, où elle est ressuscitée au concert et au disque, déjà avec l’Orchestre Philharmonique de Radio France. Et c’est cette année-là, soit trente ans après la disparition de Nadia Boulanger, que l’on découvre dans les papiers personnels de la musicienne l’amour passionné qui la liait au dédicataire de l’œuvre. Une œuvre testament en quelque sorte, puisque Raoul Pugno (1852-1914), pianiste, compositeur et aussi enseignant (au Conservatoire de Paris, avec Nadia Boulanger pour élève), devait décéder peu après, le 3 janvier 1914. Après une introduction d’orchestre ténébreuse, le piano égrène une série de touches en accord. S’en dégage un thème, « construit d’un chant populaire russe », selon une précision du manuscrit de l’œuvre, thème repris à l’orchestre. S’échelonnent ensuite trois grands épisodes en forme de variations rhapsodiques avec une virtuosité de circonstance et un beau souffle soutenu par l’orchestre. L’esthétique rejoint celle de César Franck (dans ses Variations symphoniques par exemple) ou de Gabriel Fauré, piquée de quelques rudesses à la manière d’un Stravinsky. Autant de compositeurs que Nadia Boulanger avait côtoyés. ...'

Well, I tried to watch/listen to the video, but abandoned it before the half-way point. Ditch water..? Yes, it's about that dull. D'uh. Never mind, back to listening to music.

Only because the Atlantic separates us, without which I'd be more than pleased to give your hand a friendly shake.

Hmm... Mebbe, but it's a close call. ...

Just be sure to have enough cowbell.

A feature it shares with other forms of poetry.

... who were giving a nominal nod and tribute to the 'scroll' headstock of acoustic double basses and violins etc.

Let's Talk About Progressive Rock... Is this not an oxymoron..? ...

That's probably not quite as useless as resistance (or impedance..?) on its own, but I still think that the best choice is made with the ears. Sometimes it takes a few goes to get that choice right, of course; it's what we call, technically, 'experience', which is something that can never be taught, nor transferred. Just sayin'.

Here you go; fill your boots... Seymour Duncan Pick-up comparison chart ... Other p/u makers exist...

Wisdom..? You want wisdom, too..? You're a hard one to please. In theory, and as a general 'rule of thumb', the higher the resistance of a pick-up, the 'hotter' the output, but, as SD states in the link above, it's not that simple. Electrically, the longer the wire used for the coils (equates to number of winds...), the higher the resistance, and the thinner the wire (no way of knowing what gauge the wire is, generally...), the greater the resistance, for the same length. Soooooo... Thin wire with few winds could be high resistance; thicker wire with fewer winds could be the same resistance. The output would be different, however. The resistance, as a measure, and on its own, does not, therefore, tell us much. It could be useful when testing two pick-ups from the same maker, but even then, only as a guide. What is the real reason for the question, though..? Are you looking at any specific pick-up related issue..?

Short answer : Yes. ... A bit more serious... Seymour Duncan on guitar pick-ups ... '...What is guitar pickup resistance? Many believe that a pickup’s resistance directly correlates to its output. The higher the number, the hotter the pickup, right? Not necessarily. A pickup’s resistance is actually a measure of how hard the current has to work to get through the wire coils. But more windings (which usually means higher output) also means higher resistance. Therefore, people often equate the two. In reality, it’s not that simple. A host of variables determines a pickup’s output. These include magnet material, gauss (magnet strength), wire material, and the number of coil winds. So, a pickup with a strong magnet can still have lower resistance and plenty of output. Likewise, another will deliver low output, yet yield a higher resistance. A pickup’s resistance is only important when considering all these other factors. Therefore, measuring a pickup’s resistance is a diagnostic tool to help confirm your pickup’s health. It does not solely determine its performance characteristics and output. ...'

At its conception, tuners suitable for mounting below the bridge had not been invented; the 'standard' way of tuning, inherited from acoustic instruments of the time, was at the nut end. The Fender headstock was even a nominal nod and tribute to the 'scroll' headstock of acoustic double basses. The mechanics suitable, strong enough and reliable enough for headless didn't come until much later.

In that case, the answer seems to be 'No'.

If it's the basic shape you're after, there are other sources than Fender... Rondo 6--string 'jazz' bass ... I have one of these (fretless...); they're very good.

Both of them..? ...

... and given the circumstances, it's really not that bad at all..! You yourself have played worse (often..!)..! (OK, not the tubas..! ...)

And rightly, of course, but it does serve to illustrate just how difficult it is for Common Mortals to work with this stuff. The virtuoses that do this properly are to be all the more appreciated.

Mmm... Tea..!

Apprehensive, checking under the bed. Serious answer.

No need, I have Lenny for that.

What utter claptrap..!