paul_c2

"Loudness" is a very vague term but as I understand it, its often seen on older car stereo where they add a bit of volume; and a boost to lower and maybe higher frequencies too ("smiley face" graphic EQ). Whilst of course EQ settings are subjective, many older car stereo setups sounded quite terrible with flat EQ and the "loudness" disengaged, even if you adjusted the volume to match the loudness setting.

Lots of "mights" and "coulds" in that wording. I am partially correct - first 30 days, you can insist on a refund. After that, the seller has the choice of repair/refund/replace. https://www.which.co.uk/consumer-rights/advice/what-do-i-do-if-i-have-a-faulty-product-aTTEK2g0YuEy https://www.which.co.uk/consumer-rights/regulation/consumer-rights-act-aKJYx8n5KiSl

I am not sure that's true. The choice to refund/repair/replace lies with the seller, not the buyer.

He's great - and its nice in small doses - but its a shame he picked the wrong instrument to perfect.

Or it could be played when you see B11 (and other rootless voicings are possible too).

Yes indeed, F#m7 and A6 contain the same notes so both answers are correct. In a way, a "6" chord doesn't follow the convention of stacked thirds, so its a bit of an outlier. But the 6th is so common in pentatonic major (and other) scales; and is such a mild dissonance, that its quite common to see. (It also works for other pairs - the 6 of the 6th chord is the root of a min7 chord).

By reading what's written? By playing the riff/line you learnt by ear? There seems to be a (reasonable) assumption that bass players are also those who invent the bass line to play; which only fits certain genres of music and will clash horribly in others.

The top one, ISN'T how you originally described it (a bar chord of the top 4 strings). Obvs the position on the D string is different. Thus its a different chord. A "bar" on the top 4 strings would be the notes (let's say the bar is at fret 2): E A C# F#, which is A6 (but the root isn't at the bottom of the chord, so you could describe it as A6/E if you wanted to....but with guitars, I bet someone else is playing the root.....) Chords aren't massively complicated on a guitar: There's 2 shapes, the "E" shape and the "G" shape. A and D open chords are the same as E but shifted down a string or two; C open chord is the same as G shifted down a string. Then there's variations on stuff, ie minor/major, adding 7th, 9th, #9, etc. Then there's playing just the top 3 or 4 strings, or the bottom 3 or 4, etc

Or just buy a piano - they go for buttons these days, people can't get rid of them!! So long as you have the means to transport and accommodate it at home.

True - if learning piano, go for full weighted.

I bought a 49 key keyboard some time ago (a Komplete Kontrol A49) and I've found even Grade 3 piano pieces don't fit on it, neither can they be made to fit with using the octave switch. So definitely the more the better. If its full size, then 88 vs 61 might be more tricky to accommodate and transport? But it would depend on the kind of music - anything piano related, the more the better. But if its purely synth stuff then 49 (or less) is fine. Since the Alesis Recital has a USB MIDI out (so say the specs - not sure if it does the job great though) it opens it up to a world of synths and other fun sounds.

I used to watch a bunch of Anderton's music stuff (the "Sound like ................. for £500" is a good series) but its best to consider it a long advert with a bit of actual useful info here and there.

I remember once at work we had a conversation on what might be the worst thing to happen to you. You know, things like a 9" grinder accident with it going into your abdomen; circular saw running at your hand; plate glass impalement; acid spills; welding incidents. Apparently "being stuck in a dead end job on an industrial estate near an airport for the rest of your career" isn't the right answer.

I'd say they are worthwhile to use as a guideline for one's ability in an instrument. Yes they are classically focused, but that's not a bad thing in itself since anything 'classical' can be applied to any other genre of music - there are a lot of transferrable skills. Whether its worth £60 to go through the process of visiting an examination centre, playing in an unfamiliar room to an examiner who's heard 167 renditions of the same piece that week, is another thing - if it helps with the course/overall career path, then yes. Some people get terrified of exams, just like some people are good at playing but get terrified at performing live.