leftybassman392

Not to be picky, but actually I believe there is. Don't charges (and convictions where appropriate) give some indication of the child's age?

No it's ok, just that she used to be a colleague when I worked in Northants. Curious to know what she's up to these days is all.

K. Thanks for getting back to me.

Just on the off-chance (and with apologies for going OT), is there a woman called Deb involved in running it?

In a word, yes. No other purpose it could serve if you think about it. I did have plans to buy one when I found out about it, but they didn't do them as Lefties. Kind of fits the rest of the thread really.

Fender Woodstock Stratocaster Special Edition If you look carefully you can see that even the headstock logo is reversed and upside down so it will look right in the mirror. Anybody care to guess how many lefties they made? ETA: I agree with the OP about the Hendrix family, but in fairness it was them who put a stop to it (even if it was for selfish reasons).

I was going to suggest a school as well. May be a bit OTT for their needs is the only query.

Do you use the same logic with your underpants?

Not really, no. Why? Does it show?

Sandpaper. I forgot to mention sandpaper. An essential tool for giving your Lake Placid Blue finish that 'old pro with a glandular problem' look.

Aren't there guys you can pay to go at them with screwdrivers and acid when you want to sell them?

Read this. TL;DR Leave it in the case when you're not using it.

As I say I don't know this particular model (there may be some extra gubbins on the back for example), but the real key to getting a great sound from the Plexi (IMHO of course) is to get the output valves cooking a bit. Another possibility is to put a power soak between the amp & the cab. You can then run it a bit harder without making your ears bleed. As to alternatives, I guess it depends how important it is to get 'that' sound. For a purist nothing else will do, but if you're prepared to be flexible there are plenty of alternatives out there. As always though, try before you buy.

Not familiar with this particular model (although I've had a few Marshalls - including an original late '60's Plexi - over the years). Just a couple of thoughts and queries (not criticism you understand, just some observations from personal experience): 1. It will be VERY LOUD if you use it at anything like it's working level. You sure you need that much power without a master volume? At typical home use volumes the output stage is never going to be doing more than ticking over (unless you have a PowerBrake or some such of course...). 2. Does it need to be this particular unit? Yes it's a fabulous sound (or at least my Plexi was), but it's an awful lot of wodge for a 50w head, especially a reissue. Your money your choice and all that, but even so...

In my days with the function band I used to do all my own gear, plus the (fairly substantial) P.A., plus helping the drummer to cart his gear in & out. Over a period of months I became increasingly pee'd off with the rest of the band (drummer excepted of course) basically doing bugger all beyond hauling their own gear, and one day I announced at the start of the evening that since I was doing most of the heavy hauling and setup I would take a bigger slice of the gig fee. As if by magic I suddenly had a small posse of assistants, and from then on my job was a lot easier. On the downside, the attrition from all the years of carting this stuff around (I still had to get it all in & out of the car at home) was a contributing factor to the back problems that ended my playing career. These days I can barely lift my guitar amp (around 20Kg) off the ground without reaping the consequences for several days afterwards. Ho hum...

(I realise this is likely to sound sacrilegious, but...) I have very little bass gear these days so more or less anywhere there's a bit of space. 1 headless bass, 1 small amp, 1 small cab and a couple of pedals don't really take up much room. As it happens it's all in the spare bedroom, but could just as easily be in the lounge or the dining room without really getting in anybody's way. Probably not the kitchen though...

My two pennorth: anybody with aspirations to be a professional musician in any capacity really ought to learn to read the dots if they possibly can. It's the language that musicians use to communicate with each other, and not being able to follow a part will put you at a distinct disadvantage in many work situations. Even for the more casual musician it's rarely a bad idea in and of itself. That said, it's not the be-all and end-all of being a musician (as some have claimed on these forums in the past). It's still perfectly possible to be good on your instrument, take your place in a working band or simply play for your own pleasure (which, after all, is what many members of this forum are doing if we're honest) without any real knowledge of notation. Tablature is a perfectly useable format that by the way has a long and distinguished history in it's own right (and not just for guitar and bass). In my time as a tutor, I would say that less than 20% of my students had any real need or desire to read notation. Maybe it says something about me and/or my students, but IME ramming it down the throat of somebody who has neither the need nor the inclination for it generally proves counterproductive.

Ah ha! So this is the real one! Right, well I bouhght an LR Baggs D.I. from him recently. Well packaged; prompt delivery and everything works as advertised. Cheers mate. Trade with confidence.

Bought a cutsey little LR Baggs acoustic preamp from Mike. Excellent packaging and prompt delivery. Tested and working as advertised. Cheers mate. Trade with confidence.

Thanks mate. Good of you to take it up.

Take Mrs. LBM to spend a month or two with my cousin Tim in Perth, W.A. No brainer for me. It's the least she deserves after nearly 40 years of putting up with me, and he doesn't enjoy good health these days so if we're going to meet again it's the only way it will happen. Helps that we have an open invitation to stay as long as we want. Given my age and current circumstances I have all the musical gear I'm ever likely to need. 3 months ago I'd have said 'a decent parlour guitar and a nice acoustic amp', but after selling my Shuker Jazz I now have those anyway.

Well there's a mature, considered response. Nice going. Would this be a bad time to tell you that I have a degree in Mathematics and Philosophy? That I have made some study of this kind of material over a number of years? And that I have written articles on the history of musical scales in Ancient Greece (that made fairly extensive use of harmonic theory) on this very forum? Fact is, I actually know a few things about this subject myself. You have spent the last few pages being arrogant, patronising and dismissive. I understand what you are saying - have done from the outset actually - and I disagree with you. I'm out.

That's not an explanation of a chord. It's an explanation of the natural harmonic series - or a bit of it at least. And according to that self-same J-S Bach, Well Temperament (the father of the Equal Temperament system we all use today and which essentially ditches the natural harmonic series in favour of a mathematical series based on fractional powers of 2) was a better thing for musicians to use. Didn't I say that already in this thread? I'm sure I said that already. Yes. Definitely.

Allowing the patronising little remarks to pass, I suspect that we're going to have to agree to disagree. My argument (as I've also already stated) is that what is happening here is to do with naming a chord, which (the argument continues) is subsequent to playing it. As has been said on BC many times before by folk who clearly know what they're talking about, music theory has been developed in order that we can describe what we are playing. Seen in that light, the absence of the reference you describe does not countermand or preclude the idea that any combination of notes played simultaneously can count as a chord. In my lexicon, an interval is simply a musicological term that describes the difference in pitch between two notes. And while I'm at it, 3 notes doesn't guarantee an unambiguous reference either. It has bugger all to do with Science v. Faith, and if I may say so I think that kind of cheap shot has no place in this discussion.

And just so we're clear: you do have some idea how patronising this sounds...?