adamg67

What do they cut the Mustard with?

You are trying to sneak facts in here, the broken glass thing makes perfect sense. Even broken glass can be largely transparent, so the probability of sustaining a laceration before visually identifying the potential harm is high.

I have seen the effect that you're talking about, for a large number of people it seems like the music you listened to up to a certain age (20, give or take a few years?) ends up being it for the rest of your life. I can't really understand it. I'm 52, and although I'm not always bang up to date quite a bit of the "older" music I listen to is from the the 21st century. I'm another that also keeps finding much older music that I like. Hey, I've even started listening to some Jazz! Only the weaker stuff obviously, I'd need to build up my tolerances for anything stronger.

That's what I tell my other half as well.

They will supply the socks and expect you to be adpoted by a family who already have a daughter in the WRAF? (Hate to break it to you but it's just the RAF now, hasn't been a WRAF for a bit)

I was thinking this (or a second hand one), not sure if they do neck through though?

You could open up the options a lot if you included two pickups basses. You'd have some second hand fairly recent Ibanez BTB and SR Premium basses I think, they do some natural finishes, but they nearly all have two soap bar pickups. You will get much better quality that way IMO. Edit: Something like this (but second hand): https://www.gak.co.uk/en/ibanez-btb670-ntf-natural-flat/18883

I'll add my vote for gold hardware being a big turn off. I had an Ibanez BTB 456 and when I wanted to go 5 string and upgrade I looked at a lot of the higher spec BTBs, but they all had gold hardware so weren't allowed in the house. Edit: All my basses have black hardware though, which was on somebody's list of no-nos. They are all mainly black basses though.

Looks like my Hellwood offends people on two different scores then (see picture earlier in the topic) - no markers either. I've got one with blocks (not black on maple though), one with dots and one with nothing at the mo.

Thing is, I know what you mean and I think I like it for the same reason you don't I kind of like it because it looks like the scratchplate should be there but isn't. It sort of implies the scratchplate, like there is one but it's invisible... I think this is revealing more about the workings of my mind than I should admit to now

I've got one like that and I love it It's one of these:

Yep, headstock for me. More that I dislike than like I think!

I always have to draw those pickup selector switches to be sure what they're doing, but assuming the red wire goes to the jack and the black ones are just earths then the pups would go in the right spots on the selector and that would all look fairly normal?

I've got a "blue burst" bass, not exactly like that one but close and IMO it really works as a colour combo. I'm not so into basses that look like nice furniture, strange really as I love nice looking wood grain, just not on guitars.

My main bass has top loading lightweight monorail bridges. With TI flatwounds and a medium string height so that there is zero buzz it will sustain longer than I ever need it to. I have it for a nice clean sound and it sounds great with just passive DI and nothing else, no compression, and the notes just sing out. Mind you, it does have an ebony fingerboard, which I believe makes a big difference To quote the mighty Tap:

It's actually the only rig I have for guitar now (though typically I don't play much guitar at the mo) and it's nice that it has the same models I have in amplitube in my DAW (that's why I went that really). I do rate the positive grid amps as well, but I think you have to pick one, getting to know both amplitube and bias is a lot of effort. For bass I still like my Markbass multiamp best for the amp models.

I know we did music at school but genuinely have no recollection of it at all. I wanted to play guitar when I was about 12, parents made me do classical despite me having no real interest in the music. The teacher was a horrible man, put me off lessons for a long time. Apart from his complete disinterest in whether I was learning or enjoying it, I have fairly tight tendons and my hands are not very flat as well, so when I curl my fingers they all tend to come together in the middle and it's an effort to stretch them out. He would try and get my left hand in the proper position for some of the more stretchy bits and I would say "that hurts", and he would reply "no it doesn't, don't be stupid". I do sometimes wonder where I'd be if I'd done more younger, but there's no point worrying about it and I'm learning lots now anyway. I've got a really good teacher now, more like a music coach but primarily teaching me keys, and also happens to live a few minutes away, although I'd happily travel a lot further for her. I tried another piano teacher a while before that, told her what I was interested in doing (ABRSM Jazz and things to help my songwriting) and she ignored it all and started getting me to learn "The Entertainer". Sacked her off after two lessons.

For me it seems better to have an iPad and an iRig and run it through my existing amp (it does power amp only which is handy) and FRFR speaker - but then I've already got the iPad and the amp and speaker so it's maybe not a fair comparison - and then I can use whatever apps are available. Sounds like the spark app does quite a lot to be fair, but it's not going to have backing tracks for the originals projects I'm into at the mo and I've got cubasis and amplitube on the iPad. I kind of get that they want to turn it into a single "device" and that's nice, but you're also into the land of bugs and software releases and upgrades. Does it come with all their models or are they trying to get you to buy add ons afterwards?

Bass Direct have always been noticeably cheaper for the same strings compared to Strings Direct whenever I’ve compared them.

Also, not improvising is not the same thing as not being creative. You can write original music without being able to improvise on the spot.

Also, it’s worth pointing out that formal music education does not equal classical (now referred to as western art music) and hasn’t for a long time. I followed along a bit when my ex mrs now friend did a music access course and degree in popular and world music. Plenty of music theory but across all music including plenty of improvised stuff. That’s where I first came across jazz that I actually liked (and the ABRSM Jazz Piano stuff which I’ve now picked up again years later).

The ABRSM Jazz syllabus includes improvisation. The pieces all have blank bits in, they have some suggested notes to get you started but you’re welcome to ignore them. The two teachers I’ve had have both encouraged originality.

Well, I did not know Jack Bruce studied cello and musical composition. Now I do! He was already playing Jazz bass before that though, so maybe that gave him some protection from the anti-inventive waves.

But if I've found it, it can't be the lost chord?