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Ceebass

⭐Supporting Member⭐
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Everything posted by Ceebass

  1. Apologies in advance; I don't have any knowledge of the licensing situation. Great cover though man, the arrangement is super nice!
  2. I think, possibly, I should have put more of the quote in: it tries to explain why you would need to use a 7b5 chord symbol, rather than 7#11/b9/#9 etc. (all of which could contain 1/3/b5/7). If you specifically wanted the voicing to contain C E Gb Bb with no upper extensions or alterations, C7b5 would be one way of writing it. I would argue that chords do imply scales, particularly those with multiple extensions. Surely this is one of the main principles of chord/scale theory? @GerdO you are right that tonal context & taste are also equally, but if you play a C7b13#9 chord, a C altered tonality is implied, as this is the scale from which those notes are drawn. It's nice to do a but of thinking on a Sunday (in between looking after my kids!) Thanks dudes 👍
  3. I like this! I guess the problem is the chord symbol doesn't definitively imply (?) one particular scale (I think I'm just saying what you said, again ). I found this on jazz-guitar-licks.com (best/worst domain name ever): "Dominant 7b5 chords imply only 4 notes, unlike 7#11 chords (which) are made up of 6 notes... the ninth and the perfect fifth will be omitted" It seems that it's generally thought the correct chord/scale relationship is 7b5=altered, but the chord is sometimes (wrongly?) used interchangeably with 7#11 and 7+. So... back to the start?
  4. Yeah, you're right about the whole-tone thing. I was trying to think of examples of scales where the naturally occurring 5th degree is flattened... I might have to go and do some reading!
  5. In terms of chord/scale relationships, C7#11 would usually imply a Lydian dominant scale: C D E F# G A Bb (has the #4 and perfect 5 above the root) I believe C7b5 implies a whole-tone scale: C D E F#/Gb Ab Ab (only the b5 above the root, no perfect 5). I guess it could also imply a super locrian/ altered scale (C Db Eb E(Fb) Gb Ab Bb) although you'd usually denote altered chords using C7#9 or CAlt. Is this any help? @Joebass is good at explaining this stuff!
  6. I'm selling a few bits from my board, as I'm getting most of squelchy sounds from playing keybass at the moment. All prices include UK postage. Markbass Super Synth- the earlier, less boxy version. I'm sure most of you will know that this pedal kicks donkey- infinitely tweakable with the option to choose between synth sounds and (super gnarly) octaver. In very good condition- a couple of little marks near the foot switches. Comes with the official power supply, no box & velcro on the bottom. The power supply cable has a tiny nick in it, which I've repaired with electrical tape- does not affect functionality at all. Looking for £120, but open to reasonable offers. Dr Green Octadose- this has been my main octave pedal for a couple of years. Does a very decent OC2 impression. Really kicks when run through a big rig! I've still got the box & velvety bag it came in. In good condition (a small paint chip on the top edge, velcro on the bottom. Looking for £30. Bass Synth Wah- just bought from the infamous @CameronJ- great pedal with loads of squelchy options. Unfortunately it's sent me down the slippery envelope filter slope... Excellent condition, no box, velcro on the bottom. £65 posted. Not really looking for trades at the minute. Now with pictures!
  7. This is it! I really feel like this is a keeper (early days I know). It's funny, I was weighing up between this a trip to Bass Direct for an MTD. Close call to be honest- they are both super-flexible, light & beautifully designed.
  8. Dude, that is sick. Great playing.
  9. Sold both of my basses to fund this monster Elwood L (from MrTCat). Sounds immense. I think, what I've been hearing for years in my head. Feeling pretty blessed right now
  10. Bought Tom's Maruszczyk Elwood. Picked up the bass, had a nice chat & a brew- great guy to deal with. Many thanks dude!
  11. Sale pending...
  12. @jahfish just legged it round to use my in-law's scales- weighs 3.9kg. Stick it on a chunky strap and you hardly know it's there! @CameronJ you are a leg end. Good taste in basses too.
  13. For sale is my Sandberg Electra VS4. I bought this on here about 5 months ago and have gigged it regularly since; it has a great punchy sound and excellent balance. The satin finish is glorious (I don't think they sell them with this any more) and the neck is super slim & playable. It is currently fitted with a hipshot drop tuner, but I will also include the original Sandberg tuner in the sale. It has a few cosmetic imperfections which I've tried to picture: a couple of dings on the headstock, a mark on the neck, one small knock on the back of the body and a little discolouration on the pickup poles, none of which affect playability. I've recently (2 weeks ago!) had it fully set up by an excellent local luthier. 'Cos I'm a nice guy, I'll throw in a free fretwrap too (in an almost matching colour ). For anyone not in the know, a link to the specs: http://www.bassdirect.co.uk/bass_guitar_specialists/Sandberg_ELECTRA_Vs_Black.html I'm looking for £350 including postage in a slightly tatty, but very well padded MTD gig bag. If you want to collect, or meet up, I'll knock of £25. I live in Leicestershire and would be happy to drop off around the East Midlands. Thanks for looking!
  14. How much does this weigh in at? Am I right in thinking it's 34' scale?
  15. Just bought Cameron's Digitech SBW, which actually arrived early! Super helpful guy, hassle free transaction, would definitely recommend. Thanks dude!
  16. Pm'd you!
  17. @CameronJ what is the gate like on the fuzz? Is it possible to adjust it or does it have a baked in release time?
  18. I've got Mooer rip-off of the Polytune. It's not quite as pretty, but it is very accurate and cheap! I think it was about £40 .
  19. Man, this is a mean tune! Great playing & tone brother. Having a go myself now...
  20. I'm pretty sure they can do the stuff live- it was basically extracts from the touring show. Jamareo is a great player!
  21. Jeeeeeez just listened to the track- what a vibe!!! There's a lot of stuff going down in the keys part, but I reckon that the Fb is an important part of the tune: it's there in the horn lines as well.
  22. Yeeeeeeeeah Would swap a kidney?
  23. I guess it's musical semantics! Generally speaking, chromatic chord alterations spelt in a way that causes the least disruption/confusion and that correspond most closely with the key signature. So if you compare Fbmaj7 to Emaj7 (enharmonically the same thing): Fbmaj: Fb Ab Cb Eb (3 notes in the key sig, boom) Emaj: E G# B D# (no notes in the chord sig, loads of accidentals) I guess if you wanted to be a pedant about it, if you were playing the tune in D#minor (yack), then you would call the chord Emaj7
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