bass_dinger

Has anyone used or had dealings with Gear Up Music? They are based in London's Covent Garden, and seem to offer an easy way of selling instruments. Email, valuation, post the item to them, get the money via bank transfer. I am tempted to try them. However, before I do, has anyone tried them? https://gearupmusic.co.uk/

Personalised band plectrums? Perhaps if they were reclassified from "plectrum", to "triangular plastic business cards", then you would be exempt from failure.

I think that you plan to install an effects pedal and speakers into your cello. Or, more likely, it is a home cinema/ surround sound hifi. You will play Deutsche Gramophon CDs of orchestral masterpieces, and sit in the middle, playing along with your cello

@EddieG last visited basschat in the back end of January. I am confident that he will respond in good time, and when he has something to report.

@BassTool My daughter reached Grade 8 on violin, and grade 5 in Theory. I asked her if she recognised the book, but she didn't. It may simply be that she followed a different syllabus (ABRSM, rather than the AB of your book).

I entered a Rubbish Car giveaway on Facebook, for a Morris Marina. Luckily, I didn't win it...

I am impressed that you know what note I am playing! I should have written "One reads a middle C on the clef but one actually plays a note one octave below that. Is this the case?" Even with better grammar, the answer is still yep, of course.

You wouldn't fit much gear in one of those!

And also, music notation can be played on multiple instruments, without having to be re-encoded. If I have notation for a bass guitar, it can instead be played by the left hand of a pianist (and, indeed, often is!); a double bassist; an organist... I am told that the bass guitar is a transposing instrument. I read a middle C on the clef but I actually play a note one octave below that. Is this the case?

Band in a Box was popular (and perhaps still is), if anyone needs something more adaptable. https://www.pgmusic.com/ Hardware solutions might include the Yamaha QY series - I had a Yamaha QY700.

It's a hard line - every not counts, and terrific fun. Here, a version with the "weww-weww-weww" slides. I think that I am ready to try that extra bit, having learned the line a few years back.

I have just now spoken with a pianist friend who is serial winner of Distinctions, and a naturally talented musician. Even she reckons that three months to the next grade is pushing it. Likewise, the consensus here is that I needn't be pressurised into a speedy transition of the grades. So, I practice, and focus on the syllabus. And if I am ready for the exam in June, then all well and good. And if not, then November is an option too.

You are right - I retired from work as I no longer enjoyed the stress of deadlines, nor did I enjoy working on my keyboard all day. To go back to that stress ( and to pay for it too!!) is not what I wish for. If I am ready in June, then I will do it. Otherwise, I will wait for the November exam.

I like the idea of whizzing through the grades, but only for my own personal pride. That's not a good reason for doing the grades quickly. I like even more the idea of establishing my technique and building a repertoire - which means playing more, and longer, at the grade that I am at. I really don't like the idea of @Hellzero's serious injury - so, moderation in all things for me. I will, however, make better use of my practice time - more focused on working on scales and pieces, and with a sense of urgency and pace.

I am currently working through the ABRSM piano grades, having previously played a two-manual Kawai electric organ in my teens (40, 45 years ago). I can read the treble clef on a keyboard, bass clef on a bass. Started formal piano lessons back in August 2024, learnt proper fingering techniques. I found it hard work, as everything was new to me. But in March 2025, I passed Grade 1 with a Distinction (136/150). So far, so good! Next, Grade 2. I was aiming for the November 2025 exam season, aware that I would be fully familiar with the pieces and scales by then, and probably will have learnt four or five Grade 2 pieces by then (so, more than the 3 required). However, my teacher is pushing / encouraging me to go for the exam in June 2025. That 10 weeks feels very soon - but, in reality it is how long I had to learn the Grade 1 pieces. So..... do I push myself to do the June exam, or take the November exam? My aim is to be able to play the piano (rather than collect certificates).

I had my eye on the Umc404hd (same basic specification, but four rather than two input channels, £2 more expensive - and out of stock everywhere). I would be interested to know how you are finding the 204, especially as a midi interface.

I am okay with a 3+2 headstock, but I love the quirkiness of a 2+3 headstock. Offer it as an option, for no other reason than making me happy.

Done

Two votes, @NickA - in the world of Early Music, that's practically enough interest to commission a book on the subject! I look forward to seeing your thread.

I did a quick search but didn't spot a bas de viol thread. Would you like to start one? I am interested to learn more about the instrument.

Pop into B&Q and pick up a few paint sample cards. The "white" names tend to lend themselves to acoustic folk bands, so Dulux white gives us Rock Salt, Timeless, Porcelain Doll, Summer Linen, Vintage Chandelier, Letters Unread, Feather Flock, Celtic Cream. Green is more varied. Try prog Rock band Sophisticated Sage, girl-punk-band Overtly Olive, Bardcore covers band Antique Map, High School band Valley Rock. The variety is very wide - and I am amused by the idea that there are people who are professional Paint Namers.

There's another, similar, thread on Talkbass, and my own luthier tells me that they are good basses - but Washburn does seem to have slipped under the radar, when people are considering older instruments. I have never tried a Japanese Washburn, but have instead stuck with one model, and one string layout (Bantam 5 strings). One of the advantages of the Washburn is that they are so obscure and rare, that it's nearly impossible to amass a collection, even if one wants to. Well done for rescuing the two that you have. Looking forward to seeing your B20, when you get a better photo.

I read about your clever solution, and did consider doing something similar, but in the end I went for a new neck. To do that: I found the original Washburn Custom Shop luthier in the USA. Sent out the old neck to him, so he can decide if it is repairable. £60 A new one was needed - $450 Post the neck back to the UK, $100 Pay tax, VAT, And I also wanted to prettify the headstock, and spent another £28 on an original Washburn Custom Shop headstock logo. £625 bought me a new neck. That's pretty much what the entire zebrawood XB925 cost me. Labour of love - because common sense would have made me sell the bits...

Yeah - a few years ago, I messaged you, to buy it from you, but it was already sold by the time I realised that I wanted an XB925. Dodgy necks seem to be a theme with some of the later custom shop Washburns - one of mine had a twisted neck, and I needed to have a new one made for it. However, reading about your Zebrawood XB925, and hearing your enthusiasm for the instrument, made me determined to get one - and when I ended up with two, I wanted to keep the broken one intact, regardless of cost. So, thank you for encouraging me to get some XB925s. That Washburn Family Snap is partially your doing, but I am very grateful!