BassTractor

This is still an awesome project. Will there be extra copies so latecomers to the thread could get one of those?

- Hi, I'm here to pick up the five Yamaha tenor saxes we ordered. - Ah! Here they are, sir. - Huh? What are these? - They're NonameAwful tenor saxes, sir. Great stuff! - What? We specifically ordered Yamaha YTS-62 saxes! - A tenor sax is a tenor sax, sir. - BTW, as you probably guessed, a Yamaha YTS-62 is a very good sax.

Welcome to BC, GT! Have you even had a tutor during this long time, and how long is this long time?

Oh yeah, he just lurvs those upgrades.

Weird they became extinct, now I think of it. I mean, ivory nuts are famously less prone to hypothermia or cold shock than regular nuts are.

My experiences are within Norway, so maybe of limited value, but I deemed it better to tell you anyway. Here, they can be rented (which I feel is kinda expensive) or bought. We bought ours for 800 quid, which was in the medium price range here, and after that investment I found the right M2M subscription and SIM card to equip it with, which cost a mere 2 quid per month, and the data traffic was virtually free. The machine was of a reputable brand, and technically has lasted for 14 years up to now without a hick-up, but a drawback was when the reputable brand dropped it off the updating service schemes - making it almost obsolete overnight. Those 14 years also mean the battery was of great quality. Exchange batteries for these machines are likely very expensive, but one might be lucky and be able to find a machine that runs on standard rechargeable batteries. "Problems" arose only in areas of bad reception/transmission, like some buildings and remote areas, but in that case a good machine has a second system where it stores all the deals and transmits them when it gets back into an area that is covered. In those cases, the operator had to check the identity of the buyer by looking at the card, and maybe making a note of some of the info. The drawback of that second system is that it can't control whether people really have the money in their account. For my firm this meant that we had some routines in stock for the extremely rare cases we thought the customer was trying to trick us. Merch is cheaper than what we sold, but we had the ideal market for trusting people, so that maybe evens it out.

Less than £50 is a steal for a unique lim.ed. work of art. Come to think of it, in fact it's even less than what I paid for my Picasso, Dali and Vasarely silk screen prints! Order, folks! Order!

Basses: vertically in cases in two cupboards in the bedroom, which is besides the living room. One bass on a stand in the living room. All amps and cabs in the living room. All keyboards and drums in the living room. Everything of value with my ex-wife.

Great. Apparently I'm in then. The £300 number is what I'd have to pay here in Norway for an A2+ size print before P&P, so I thought you could do it including P&P for slightly less in the UK. Of course, if your price is cut to the bone due to P&P being calculated for the UK only, then I'd just wire you more money. Simples. Will PM later.

BTW, and I apologise for the technical stuff in a fun discussion, but when I have a bass that is reluctant, three or four anti-clockwise turns on every screw in the neckplate always make it play like butter. Not like a dream though...

Looks terrible on that boy, but happily I'm a lot prettier than him, so I can probably wear it off.

All the shops carry that stuff here in Norway. Here, the brand is called "I Can't Believe It's Not A Jazz!"

Hehe. The thing is one doesn't even need to advertise them as playing like a dream. I recently sold 15 basses, and four of them were advertised with a warning about them NOT playing like a dream. The buyers confirmed that they knew what they were going to, and paid me the asking price, which was not lower than similar basses that did indeed play like a dream. I guess sometimes it's the specific design that's important, and other times it's the buyer's conviction he/she can do something about it. Also, being honest about these things saves you a lot of trouble afterwards, and it also makes the other ads more trustworthy. Win win.

Simply put, and choosing mild words carefully, this is just bloody fantastic. I also like its graphical style. I'd take one on A2 if the price is right. I'm aware printing on A2 is extremely expensive for you, and this is quite the project, but keep it below 300 quid, and I'm in. Also: a textless version would be best IMHO for graphical reasons as well as the buyer then being able to hang it on the wall in different angles. We could even be ultra cool and turn the portrait view upside down to make make-do lefties. Congrats!

Add to that that you're the first person who has been this positive about it. Everyone else was fumingraging.

What AnAnInginAneAnA said. Me, I haven't played the 70s P, but have owned 4 Classic Vibes, 2* 60s J and 2* 50s P, and except for one easily rectified detail on one of them, all were very impressive instruments and very good value for the money. Reportedly, they can be bought untested as to build quality in itself. Me, I'd lightly sand the neck if needed - initially with some oiled 1200 sandpaper, and than going to 600 or 300 if needed. Reportedly, two areas of potential are the pups and the tuners. Personally, I felt no need for those upgrades, but then I'm no bass guitar player.

Hey! What are you doing, calling Silvia "Silvia"? As a BC member you are bound by the forum rules, and you have to call her "Sylvia"! Everyone else complies!

IMHO profanity filters stem from a kind of philosophy that I strongly disagree with, to put it very, very mildly. I love your "tea under the pier ar Brighton" though.

rock: Yes: Close to the Edge jazz: Miles Davis: beaches Brew ------- Edit: profanity filter at work! It's really B I T C H E S . B R E W Gazillions of other faves, but these two have a special place to me due to their place in my personal music history.

May have found a bug that is not listed yet (i did a search, but did not read the whole thread). Scrolling through a thread, using the mouse wheel whilst the mouse pointer was at the right side of the screen, a post author's user name appeared as: [e-mail address suppressed] or similar. The user was called M@23 if I remember correctly. I seem to remember that hovering the mouse pointer over the name then revealed the user name, after which it stayed there - also after more scrolling and hovering. Will report back if I see it again.

Oh! Luvverly choice! Are you aware of the other two in the same series? In case, they're "Jazz på ryska" with Arne Domnérus and Georg Riedel, and "Jazz på ungerska" with Svend Asmussen. I think I remember loving two of the three mostly, but "Jazz på svenska" was the first and will remain a fave of sorts as it introduced me to that style. BTW, "svenska" means Swedish, "ryska" means Russian, and "ungerska" means Hungarian.

I don't think so. Why would it be? To me it's more like: if you want to paint the Mona Lisa in Renaissance style, then it might be an idea to not use green for Lisa's skin tone.

Ha! Parts of the tongue. I liked that, as I feel that it might be a perfect comparison as it says something about the physical sensitivities before you even talk about the psychological sensitivities - what one is used to, what is experienced as relevant etc. Consecutive fifths were physically a stomach-turning abomination to my ears when I was young. Then I started using them willingly and a lot - but in new music rather than the original baroque environment that had formed my sensitivities. Interestingly (to me at least), when heard in medieval and Renaissance music, they do not turn my stomach so much as invoke a little smile about the naïvité of old music. BTW, I lurv medieval and Renaissance music. But to this day, a melodic line 4 - 3 - 1 in a Major key, as heard in a lot of popular music, still turns my stomach, and though I wish to be open-minded, I never manage to free myself from the notion that the composer of those three notes should've avoided them with a vengeance (polite wording here ). Not to say I delete those songs from my iPod though.

I hate you so much right now! Now I'll have to listen to the coddemn song!

I suspect you and I might be more on the same line than I initially thought. When I wrote the sentence you quoted, I was not trying to refer to composing by numbers, but to the ability to know in advance how the target audience would respond to (new or old) ways of doing things. Playing what you like yourself, and what you feel is expressing the message effectively, then is one good method amongst several. BTW. to me there is no qualitative difference between someone feeling that say the IV-I is a good idea and someone who was taught in college why IV-I could be a good idea. The first person supposedly has the same good ears as the second person, but the second person probably in addition has been told why this is. The first person presumably found the chords on his guitar and saw it was good, where the second person maybe would say beforehand: "I'm gonna opt for the IV-I in this song". The first person remembers it too, and says the same thing the next time. An important factor, to me, in discussing these things is what one understands the term "the rules" to mean, and I willingly use quotation marks consistently for that term when used in certain meanings. To me, "rules" are not commands about how to write music, and are very far from commands about composing by numbers, but are gathered wisdom about what musical elements have what effect on which listener". As an old and maybe still used example: nobody ever commands you to use a tritone interval in the fourth bar but not in the seventh . but the "rules" do state that our world's shared musical experience tells us that this interval has a certain tension in it that to certain listeners, and in certain musical styles, demands to be resolved - or might be experienced as daunting or ugly in certain circumstances. After that, the composer decides freely to use it or not, and in case how. Rules (without quotation marks) do exist though. Say if you want to write a baroque fugue, then you're probably gonna look up what baroque theorists demanded from a fugue. But that I think is outside of what we're discussing here. More could be said about different types of rules, but I'll only mention the analytical patterns one has found in hindsight when analysing music of days yonder. These rules do not tell you what you should do, but what others have done before you. Enough!