JapanAxe

[size=4][font=trebuchet ms,helvetica,sans-serif]My pet hate - people calling a riff a 'rift'.[/font][/size] [size=4][font=trebuchet ms,helvetica,sans-serif]Riff - [color=#333333]a[/color][color=#333333] [/color][color=#333333]melodic[/color][color=#333333] [/color][color=#333333]phrase,[/color][color=#333333] [/color][color=#333333]often[/color][color=#333333] [/color][color=#333333]constantly[/color][color=#333333] [/color][color=#333333]repeated,[/color][color=#333333] [/color][color=#333333]forming[/color][color=#333333] (part of) [/color][color=#333333]an[/color][color=#333333] [/color][color=#333333]accompaniment[/color][/font][/size] [size=4][font=trebuchet ms,helvetica,sans-serif]Rift - an opening made by splitting, cleaving etc[/font][/size] [font="trebuchet ms, helvetica, sans-serif"]Also a drummer I know refers to a dep (abbreviation of deputy, i.e stand-in) as a 'deb' (abbreviation of debutante, i.e. young lady making her entrance into society).[/font]

I just 'advise' them to place a bid - if they're right, nobody else will bid and they'll get a bargain.

The red(-ish) binding and black hardware suggest Washburn.

[quote name='ezbass' timestamp='1385233316' post='2285970'] The Sandberg Basic with one MM pickup will get close, but those with the MM at the bridge + another p/up in the neck have the MM p/up sounding more like a very ballsy J pickup. Very flexible instruments though and much lighter than MMs. [/quote] +1

Not a clue but that is a truly hideous bass in so many ways!

The batwing headstock puts me in mind of a burns, another Brit maker. The neck plate is quite a practical shape, allowing the body edge to be chamfered away by the neck joint.

Anyone want a fight?

Not sure what CK has against major thirds. Jamerson used them plenty.

Although it's not a sound I crave, [url="http://www.seymourduncan.com/products/electric/stratocaster/index.php?page=all"]Seymour Duncan[/url] do some humbuckers in a single-coil-size package.

[quote name='nottswarwick' timestamp='1385141198' post='2284983'] Can it not be described both ways though? [/quote] No, the D major key signature only tells you the set of notes used. Your ear will tell you that 'A' is 'home' for that song.

When I started learning guitar back in 1978, I read up on theory too. I learned how to 'spell' chords by working out the note relationships in the chord chart at the back of my 'Hootenanny Sing-Along Song Book' (still got it!) e.g. Maj7 = R, 3, 5, M7; m6 = R, b3, 5 [optional], 6. When I then went on to learn the major scale forms on the guitar, I found it had unexpected benefits:[list] [*]I could play better by ear, e.g. hear a melody and play it (in any key); [*]My improvisation improved, because I knew where the notes were and what they would sound like before I could play them; and. [*]I could sight-sing from written music (at least in relative pitch terms - I don't have perfect pitch). [/list] Playing today on guitar or bass, I am always referring back to where I am in the chord and/or in the scale. A lot of this now goes on subconsciously, but it has stood me in good stead and avoided a lot of duff notes along the way.

[quote name='borisbrain' timestamp='1385124474' post='2284700'] ... and created The Undercocks. [/quote] Just sounds like balls to me

[quote name='chris_b' timestamp='1385113061' post='2284531'] I'ts in A. The chord sequence is G D A that's b7 4 1. [/quote] So then - we're agreed! [said in stilted 40s radio voice]

Update - I didn't get on with the D'Addario half-rounds, and ended up with Chrome flats on both my fretted basses. No shortage of mids, and as much treble as I ever want from a bass guitar. I have skinny-string guitars to scratch my treble itch!

I transcribed Lucky Man for bass and treated A as the key centre, which would make it bVII-IV-I, sometimes referred to as a double plagal cadence. I later got the notation/tab book for guitar, and that puts it in D, which would make it IV-I-V. I think they have done this to cut down on the number of accidentals, e.g. they would have to put a natural sign in front of every G note if they wrote it out in A. It's not unusual for transcribers to do this, effectively using the D key signature to reflect the notes in the A mixolydian mode. The key centre definitely feels like A to me. I don't see how it would be G though - the first (or last) chord is not always the key centre. Perhaps someone else who knows music theory could chip in. Ambient? Bilbo? EDIT - no the A chord is not diminished as it contains the note E, which would be flattened in Adim. EDIT 2 - other examples of bVII-IV-I are Desire by U2 and Gloria by Them (which is actually I-bVII-IV but as it's repeated it has the same effect).

[quote name='gjones' timestamp='1385075531' post='2284324'] I think there was a thread on here recently about these two songs. I do believe the writers of 'Ain't No Mountain High Enough' got a credit on Amy's album. [url="http://en.wikipedia.org/wiki/Tears_Dry_on_Their_Own"]http://en.wikipedia....ry_on_Their_Own[/url] [/quote] Should think so too - it's not just the bass line it's the brass as well!

This is really about self-awareness, specifically awareness of what you are doing when you sit down to play bass. If you spend all your time in one mode, you will miss the benefits that the other mode can bring.

I used to be really bad at learning lyrics, but fine at remembering music. Then I started to front my own band and didn't want a music stand in front of me, so I had to learn how to learn lyrics. Now I know the words for at least 80 songs!

I didn't laugh till I read the asking price. You could get an excellent bass for that money. Or 2 perfectly good ones.

Don't suppose you'll want a country act as your opener then!