Hellzero

And here are the 14 single cut basses I've owned over the years. Can you name them all ?

Here is mine, just for you @skb558 :

I'm in for the most Leduc's owned, over 30.

Thanks to James JAMERSON, I don't give a sh*t anymore, since a long time, mainly using my index only for playing (badly). He was such a great player. An absolute bass icon.

Ok then, let's play, seven years of waiting for my custom made EUB Leduc U-Contrebasse 6 Moaï. Ordered in 2006, received in 2013.

Where is the Skjold design ? Looks like you forgot it. 😉

There's a label inside on the circuit board or the case itself with the date on it.

That said, the look of these Fishman pickups is mixing very well with your design.

https://goldtonemusicgroup.com/zeroglide/

No, in the attic...

1912. 😉 Interesting, but not as "fixed" and "basic" as the Boléro and more Purcell in the approach. That said, Gustav HOLST was a genius indeed.

I'll leave it to you, don't worry, it's too small for me.

Thanks for taking words out of context, as usual. If I count, it's missing 293 bars, but it's not the point, even if I could play your game. It's a first in music history, because of the whole and not only one aspect. Maybe I should have written this instead to be clearer : In fact, in music history, it's the first time a symphonic movement is composed this way and based on a fixed repetitive rhythmic pattern at a slow tempo, with voluntary simplified orchestration, leading to a unique piece of hypnotic ballet. You know what ? I persist in saying that most of the members can't read. Yes, I'm fed up. So long and thanks for all the fish.

Repetitive and simple beat yes, but not fixed, and lacking a melody, which is a modern invention. The repetitive beat is meant to help you to enter into a transe, which is still working today. I fell asleep (literally hypnotised) during an MRIn long session without headphones (the technician couldn't find them and it was a late night emergency), only because of the repetitive (very noisy) rhythmic pattern. By the way, did you notice that the bass is only playing two notes : a root and a fifth ?

A great recent recording without the usual noisy audience at a tiny bit slower tempo as suggested by the composer himself at the time. The exact same rhythmic pattern repeated 169 times (wisely and suddenly "forgotten" for the end climax), one melody with two themes and only one very late key change (more a modulation) : the result is just perfect. The original title was Obsession of a Rhythm. It says all and everything. And to answer @Stub Mandrel question : who and when invented the idea of a consistently repetitive (underlying) rhythm ? It's Maurice RAVEL in 1928. In fact, in music history, it's a first. Can you do better ?

Can't wait for the first photos...

For those accountants without imagination, here is an answer : +1...

+1 🤣

As it's show off time 😎 , here are the sixers I'm playing these days. The least used first as it's fretted, a Leduc Masterpiece MP 624 : My long time companion, a Leduc Masterpiece MP 628 SF (130 years old Brazilian rosewood fingerboard) : The new every day companion, a Le Fay Remington Steele 6 RHT CC CAP Big Block (stainless steel fingerboard) : And the unique, one and only EUB Leduc U-Contrebasse 6 Moaï :

John East is advising use of copper for shielding instead of carbon paint, simply because copper is way more conductive and there won't be any break in conductivity to the ground just like it happens too often with graphite paint. Put your multimeter to the conductivity function and check the real resistivity, you'll be surprised by the difference in readings between copper shielding and graphite (or even copper) paint. You can also check Alps for conductive plastic trace pots, but they will be more expensive.

@Raymondo Maybe we should invite him for a factory tour in Belgium ?

!