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Everything posted by BassTractor
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Sorry about that, Jamie. Please accept it was not personal. I can understand your feelings in this, and possible feelings were the reason I tried to write about a pattern of possibilities, initially without mentioning names. I only mentioned you when I felt forced, and did so by writing that you might be entirely legit. Your posts was only one of several that made me see the possibility that Mick Mason already was back - smarter this time. I wished to remind people to remain aware, and said so. best, bert
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I get the idea that @walshy may be talking about the earlier attempt by Mick Mason - one that lasted for 20 minutes. Jamie Snell OTOH is still unbanned on BC, and might be totally legit. It's just that I thought it best to still propose that people be aware, as in my mind, reading threads is not the same as asking for specific info - info that would provide a scammer with an overview over how much of this is keyboard warring and how much of it is action that actually has been taken.
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Whilst I feel ashamed to admit it, I was never a koploper, and just wanted to compose and teach electronic music. Sadly, in real life I got to compose and teach electronic music. But in my defence: I did get out of it! Edit: Forgot to realise most of you guys won't know that "Koploper" (train) is derived from "koploper" (roughly: "front runner"). Twasn't a train I wasn't; twas a front runner I wasn't, though admittedly I wasn't a train either. 😀Pfffff.
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Eight years ago, I liked the RedSub ones, meaning that comparing their 35W version with a similar Roland Cube, I much preferred the sound of the RedSub, and bought that one rather than the Cube. Dunno what has happened since, but still deemed it worthy of mentioning as the RedSubs are still being offered. This one's within your budget: https://www.gear4music.com/Guitar-and-Bass/RedSub-BP20plus-20W-Bass-Guitar-Amplifier/1I8D No massive bass range, but the overtone spectrum still gives a good impression.
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Yeah, they have been mentioned several times on BC, maybe even in a thread of its own. IMS people were satisfied with them.
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Also, the fact that this is just a light hearted joke doesn't mean we're not all shïte. 😀
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Last I read on their web site was that you had to subscribe to a certain mindset too, IMS. At the very least, you went through a process where the maker decided on whether you were worthy enough. Maker's prerogative, I guess, but it somehow doesn't sit really well with me.
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Oh, yeah. Through the years I've heard it covered many times, though I don't remember specifics. Hm. Must go online and check those out. Hardin too died way too young, at 39.
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Often, I prefer Tim Hardin's originals to their way more famous cover versions, and enjoy them deeply whilst people around me laugh... ...but "Misty Roses" from Colin Blunstone's first album "One Year" is something else, in large part because of the stunning strings segment composed by Chris Gunning. Not everyone's cup of tea, but it nearly rules my world.
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No cover-that-beats-the-original off the top of my head right now, but just want to relay that Rod Argent, when performing with Colin Blunstone in the early noughties often was asked: - "Why in the world did you play a Santana song?" Liked that, and so did our Rod.
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Does it have to look like a bass? If yes, how about a Daisy Rock? Not all of them look like flowers or butterflies. In fact most look like basses. Good quality as well. If no, I see some bass ukes come well-regarded. I had an Ashbory myself, and whilst it sounded fantastic, I'd wager a guess that its fretlessness is a huge drawback.
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Hm. My previous post generated confusion, so by way of explanation: As relayed earlier, I've been around hundreds of the best musicians on the planet, and hastily add that I'm not one of them. As far as I'm aware, none of them could do that at the young age the girl has in the vid. None. Fewer than one. So her ability is silencing, and I guess I worded that badly. Just for balance, and I can only hope to avoid heavy FLAK for it: she immediately changed the B to a B flat so as to keep this within her boundaries. That is a choice I fully condone, of course, but the notion that she needed to do it also is helpful in evaluating that what she does is not stretch the art of music, but stretch the task so as to fit her boundaries. Again: it still is impressive to a degree I can't even put to words, but she must be lauded for what she actually does, impressively, not for some imagining in our heads. @Oldman
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Photoshop! 😉 Seriously: Kudos! I know fewer than 1 people who can do this at that age.
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Rehearsal app? What a fantastic idea! I'll only be doing the gigs from now on! 😁
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One I just remembered: Predictive listening, and then getting frustrated or enthusiastic. As an example: "One of Us" by Joan Osborne. When she sings "What if God was one of us" and repeats those notes in "Just a slob like one of us", everything is dandy. But then she starts with the same notes on "Just a stranger..." and, fearing another repetition, I'm drawn into the mindset of OH, NO! DON'T GO THERE!, but she (IMHO wonderfully) solves this with the slow notes on "on the bus" and with the linking to the next bit "Trying to make his way home". What could have totally ruined a song for me, is instead turned into a glorious musical moment. Similarly, where both Bach and Vivaldi set up some framework, and I predict trouble ahead and go into DON'T GO THERE! mode, then Vivaldi will immediately and way too fast hurry back to the original key, obviously not knowing how to get out of trouble, whilst Bach then comes up with a gloriously mind-exploding thing that goes even deeper. This is one bit of why IMHO Bach is a fantastic composer and Vivaldi is... er... not. I've never heard someone talking about this type of listening outside the classical music and jazz realms, but by definition, predictive listening exists everywhere and is part of our shared musical experience. Just take " I, IV, V, I " as an example. Do you recognise the OH, NO! DON'T GO THERE mode?
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New software bits on their site maybe? My newspaper has been doing the same thing the last few weeks - not always but sometimes. I close my browser and try again, and then it tends to work.
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Ha! That reminds me of my stupidest of all stupid ways of deciding whether I like something: As a boy aged 12, I saw a record cover and pestered my parents to buy the LP for me. They were naysayers of course, but i proudly stated: "Trust me", and they indulged me, doubtingly. I was right. Lurved the music, some electronic stuff by a guy called André Boucourechliev. Many years later I saw a poster advertising the "Dance" performance by Philip Glass and Lucinda Childs. Remembering my earlier success with the LP cover, I bought tickets instantly. I just knew this was for me. Bulls eye again. Don't try this at home, folks. 😀 (Go to the record store of the concert hall instead.) Edit: Oh, for reference purposes:
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I like what my ears like without any type of filter, and am certainly not interested in having to like that which I can appreciate on a formal basis. This way I love stuff from C&W to Penderecki to bebop to dance to... you get the gist. I'll give it at least two chances, but sometimes years of attempting to like it, unless a song can't keep my interest even for the duration of the first play and my brain tells me there certainly is nothing there for me. But of course things are more complicated than that, as others have described well. For me, sometimes one chord change is enough that I love a song I just would've liked without it. Similarly it could be a detail in the orchestration that sounds fresh to my ears, like the end of a well-known Arvo Pärt piece with cellos, where the last cello chord hides the striking of a tubular bell. When the cellos stop playing, one hears the bell decay. Glorious. Sometimes, I detest a well constructed piece of music because it has no heart I can recognise (Californian studio musicians anyone?) BTW, analysing music I loved ruined my love for them even if my appreciation was augmented, so I learned to exclusively analyse music I disliked. That was interesting: most of the time, the compositions were better than I thought, and I learned to appreciate them. Sometimes, the appreciation turned into love for the music.
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Nah. We decided that some of your posts better not be counted, for obvious reasons. I mean: A Browning man? Gimme a break! 😉 Oh, and congrats. 😀 (Truth in Advertising moment: all of my three pistols were Brownings. Oh, and my dad's pistol was a Browning as well, so it's a mother's milk thing... er... dang!)
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Don't know, but: Are you talking about the current line of CVs? I'm asking as reportedly, quality has gone down somewhat and you should be aware. From what I gather, the CVs have never closely followed the technical specifications of the originals, so if that's true then it's more of a looks thing. I know my '50s and '60s Squiers at least looked like the old ones in their colour schemes. Sorry I don't know more.
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Incomplete list of the stuff that is wrong with this music: - On the one, two, three and four, it doesn't go THUMP, THUMP, etc. - More than two different chords - Oh, and BTW, where in fact IS the one? - They're not playing in a pub - before a bored audience that rather would've gone home already and do that person they now have to dance with some more - They seem to enjoy themselves - Jaco, well known purveyor of two-chord Thump, only needed four. I know this very well. I learn it from a forum. 😉
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So, just how many basses do you own ????
BassTractor replied to musicbassman's topic in General Discussion
Yeah, I thought I ordered the INVINCIBLE bass, but auto-correct won. (Seriously though, it's a phase. I fully intend to buy a bass again.) -
So, just how many basses do you own ????
BassTractor replied to musicbassman's topic in General Discussion
Update time! . . . . . (Yup! 😢) 😁