stewblack

*probable

Thanks guys, it's really the repeats I was concerned about as I haven't jumped back like that then jumped forward again to a coda. Although I appreciate the advice re chords and choice of key. C# was my third attempt! I remembered what I was taught about modes etc and that helped me to decide which were the provable chords. Bass notes I can do, chords I'm very much still learning

Could someone cast an eye over this. not added the dots yet, been working out the chords and structure first. It's the way I've organised the repeats - I'd be so grateful if someone could check I have the DS Al Coda/To coda stuff down correctly. I don't mean is it correct for the song, rather does it read properly. Thank you Cry_No_More.pdf

Love that guy so much. Learn from him every time he opens his mouth

Thanks mate. Its not the huge bass wardrobe I always loved to stand in front of, but those days are over. I'm planning for my 60s and 70s, needed to down size!

Oh God. They'd have found me swinging from a roof beam

My carefully thought out rationalisation plan rolls forward. In no way am I selling a bunch of stuff I bought last year just to buy a whole pile of new shiny stuff this year. 😬 I have become the proud owner of an Ashdown RM500. And its blooming lovely. Bought from @Chris1127 of this parish, the idea is to pair it with the Ashdown 12" cab I bought last month. Giving me a modular system suitable for rehearsals, smaller gigs and with the flexibility to handle bigger stuff too. Essentially a 2x12 with a 500w head. First impressions. Does it replace my ABM? Kind of. It's similar but different The drive control is way dirtier than it's counterpart on the ABM, the tone controls slightly less flexible. But it has a shape button which Trace Elliot lovers will warm to and some others won't like at all, needless to say I love it. A variable compressor which feels pretty aggressive, a good thing to my ears, reminds me of the TC Electronic spectracomp toneprint I put on my BG250. Main volume is a nice tactile dial; let's you feel each increment as you turn it. It's a comfortable one hand lift, rather than an easy one, the handle on the top is well sited for balance. Oh and it's loud. Really loud. I've not had the needle close to the red and kept the master at the first click! What else? The cab and combo are not a perfect match as the feet are on the side which puts the horn at the bottom on one, top on the other. A bit of an ocd challenge, but the speakers not quite lining up may be for some physics or other so I'll live with it.

I would have had to be happy (not that I think there's much wrong with it) because bands I'm in never have time for the bass to set up or play. They need all those studio hours for the pri madonnas and their 50 takes per solo

https://www.stewmac.com/luthier-tools-and-supplies/tools-by-job/tools-for-truss-rods/gripper-truss-rod-wrenches.html

Just bought it. Sounds like my kind of thing

When I feel utterly desolate and need to wallow, while being simultaneously cheered I play Bish Bosch by Scott Walker. While it reaches deep into my soul, nobody else seems to want to hang around.

Oh and the music from Local Hero - perfection.

I love the first two albums very much. Sultans Of Swing stopped me dead in my ska/punk/rock tracks when I heard it, still love it now. Making Movies was good but my real secret pleasure is Love Over Gold. Don't tell the cool kids they'll get me after school. BIA didn't float my boat but when a band gifts you three great albums I don't moan if they want to make some money thereafter.

Ok so you've all had fun with me for suggesting something might be easy but in my defence all I meant was that at aligning the fretboard with the neck should be easy I said nothing about gluing or clamping

Great, thanks @dodge_bassI am beginning to get a feel for this. Transcription takes less time now, and being more familiar with the nuts and bolts allows me to see the bigger picture, if that makes sense!

Truly wonderful work. So very good.

This. And I have found it goes both ways. My reading and ability to hear intervals has improved through writing.

Thank you both. My solution in this instance: The song has a 4 bar intro. 2 just drums then 2 with bass. Then an 8 bar section with other instruments added. These are the 10 bars of repeated bass line. So I wrote: 1st line - 2 bars of rest 2 bars of bass 2nd line - 4 bars of bass with repeat lines either end. That way two neat lines of 4 bars. Sound OK?

Thank you so much.

Or back to front. That would be bad too

Alignment of the board ought to be (relatively) straightforward in this case as there are clear demarkation lines where the paint finishes. I just need to remember whether the wide frets go at the body end or the head of the bass.

🤣🤣

Hi guys, still plugging away, making progress. I have a question about repeats. I am transcribing a piece where the bass repeats the same bar for 10 bars at the start of the song. I am unsure around this kind of question. It's come up before and I'm still not sure of the rules - if indeed there are any. Is there a convention as to how many times one writes out a repeated bar before using repeat signs? or do you just write it once and say play 10 times or something?

@Simon. is spot on with his praise of the selflessness of Basschatters. The knowledge you people share so freely must have been very hard won over a long time. To just give it away is beautiful. I would never in a million years attempt this just from watching a youtube video, but with my hand so firmly held I haven't felt the slightest apprehension at any time. A wonderful experience already no matter how things go from here. Thank you all, and a special mention to @songofthewind who first told me to get a grip and do it, then @Maude who picked me up when i thought I couldn't do it and set me back on the path, @Reggaebass for offerring tools, and of course the Elders Of The Build, Des Meilleurs Ouvriers de Basschat , those who's sandals I am not fit to tie. Thank you all.