leftybassman392

Sounds like you are indeed overthinking it a bit. Standard procedure is to go one way for increasing sharps (C, G, D, A, E, B, F#), and the other way for increasing flats (C, F, Bb, Eb, Ab Db, Gb). They meet at F#/Gb. You [i]can[/i] go all the way round in a single direction but it's not common practice to do so as the notation starts to get a bit unwieldy whichever way you go On the question of Db/C#: (Db, Eb, F, Gb, Ab, Bb, C) vs. (C#, D#, E#, F#, G#, A#, B#) E#=F and B#=C (which is where the extra accidentals come from - it has to be done this way in the standard major scale as each note name can only appear once), but it's exactly the same set of notes and has been ever since the advent of Equal Temperament tuning. The term for giving a single note different names (perfectly possible in music if you change key during a piece) is enharmonic change or enharmonic equivalence. Hope this helps.

Weight would be the thing I think. AFAIK it's the only wood that actually sinks in water - happy to be wrong about that, but even so it does tell you a lot about the density.

63 in May. I agree with Blue's comment about age not needing to be a factor: In my last band (fusion - Govan, Stern et al) I was in my late 50's; sax player (on leave from his day job playing in Comus) about the same age, drummer early 30's (I think), and both guitarists in their mid-20's - that was a lot of fun as everybody was a working pro of one sort or another, nobody got in anybody else's way musically and we all got on really well. Having to give that one up was quite a jolt TBH. Function band before that and I was the oldest by some distance (early-mid 50's); bass player was early 40's (I was a guitarist in those days - y'know... prancing around the stage... pulling faces as I played... that kind of stuff) and everybody else was 20's and 30's. In fact the first time I told the other guys how old I was they all gave me a bit of a look (which I took as a compliment ). Covers band around the Northampton area before that, and oldest in that band as well IIRC (same bass player and drummer as the function band above - except that they were younger: in fact the drummer had been recruited more or less straight out of the school where the singer and I were teachers).

Putting the Wal up for sale has caused me a bit of emotional turmoil. It's up there though, and if somebody meets the asking price without being too much of a dick about it then it'll go. I actually turned down an offer from an American source the other day. Mind you, he spent a fair while whingeing about the condition (um... it's a 32-year-old bass, dude...), and then tried to have me believe that he was doing me a favour by offering the derisory sum he said he'd pay. In truth that wasn't hard to turn away. The next one might be harder...

Ooooooooh!!!

I hang around probably more than I should (though perhaps not as much as I used to), but I'm under doctor's orders to get out more now so I try to keep attendances fairly short unless there's something specific I need to do. I haven't played seriously for some years so gear forums don't interest me that much these days unless I'm selling something. I do enjoy intelligent conversation about events of the day though so tend to spend most of my time either here or in OT. Unfortunately most of my main areas of interest are a bit rich for most folks around here (although the photography group looks promising; and it was nice to discover that there are some old-fashioned petrolheads around the place too). The number of people around here with specialist knowledge in all manner of disciplines who seem happy to give up time to share some of it with others is something I've always liked about this place too. Cutting to the chase: will I ever leave? Probably not - at least not any time soon. As online forums go we could do an awful lot worse. I'd expect the level of my contributions to progressively diminish of course, but I'll be around for a while yet I think.

I have a 32-year-old Wal Mk1 up for sale ATM. It plays and sounds fabulous, but is a bit 'lived-in' - not in a major way but all the same... It was like this when I bought it around 12 years ago. I have always treated it carefully and with respect (and had it serviced at The Bass Gallery twice just to make sure everything was still in order), but I guess it is possible that I've added slightly to the look as it currently, er, looks. Here's the thing: I currently have interest from an American source, but the interested party is expressing disquiet about what he sees as the 'state' of the bass. He's arguing that he'll need to pay hundreds of pounds for a refinish (and having checked his home forum site it seems that he originally wanted to paint over the body, Wenge facings and all - in black IIRC). Since first listing it I've dropped the price twice and am unwilling to drop it further. TBH it's not a mindset I understand - my take is that it is what it is, warts 'n' all. Views on this perspective will be welcome of course. Although obviously I'd like to sell it, I'd also like to think that it's new owner will accept it for what it is and learn to love it's 'character' (or at the very least not try to use that as a bargaining chip to get me to knock hundreds of pounds off the asking price). I don't have any particular call on the proceeds from any sale so I can afford to stick it out, and take it off the market for a few years if I need to. My judgement is that it will be worth a good bit more (even in it's current 'state') with the passage of time and an improved selling environment, and that it's 'state' will prove little or no barrier to it's increasing value. Opinions on this perspective will be welcome as well.

Here's a thought. It's a bit different, but... [url="http://www.dvmark.it/?/products/59/dv_little_jazz"]http://www.dvmark.it/?/products/59/dv_little_jazz[/url] Made by the people who produce Markbass, and about the same size as a MicroMark. Plenty loud enough on it's own, but with a balanced line out just in case...

As an alternative to the Gretsches and Epiphones, I had a Heritage H575 (made by former Gibson artisans on the original ES175 jigs in Kalamazoo when the company moved it's main operation to Nashville) that I used for my jazz gigs. A lovely guitar with a superb action. Tuning wasn't quite as stable as I'd have liked (although some graphite powder in the nut grooves would no doubt have helped), but with flatwound 11's the sound and feel was perfect for what I wanted from it.

[quote name='Ruck' timestamp='1453479047' post='2959901'] [color=#282828][font=helvetica, arial, sans-serif]We've agreed to compromise and split the difference. Many thanks to everyone who commented here! Next time buying from overseas I will know better to confirm rates and the final sums of conversion. You guys have been great thanks![/font][/color] [/quote] Glad to hear you've agreed a compromise, and perhaps a lesson learned somewhere along the line. Not sure I would have felt the need, but that's just me. Having said that (and notwithstanding the point about implied terms), I still haven't heard anybody explain to me the logic of [b][i]not[/i][/b] specifying one's native currency when pricing one's items for sale. Anybody who trades regularly across currency boundaries would be expecting it. On second thought, maybe I just need to get out more! I've had a severe case of manflu this week and there's a non-zero probability that I'm a bit more tetchy than normal...

@linear At the risk of quibbling, my understanding is that standard procedure is to ask for payment in your preferred currency when trading internationally - why would you do it any other way? Additionally, doing it that way eliminates precisely this kind of issue because the bank will do it all for you. Negotiating exchange rates? Really? I still don't see how any of this can be laid at the OP's door.

[quote name='Ruck' timestamp='1453476483' post='2959847'] Yes. [/quote] In which case my original comment applies. If the seller doesn't understand how banks do currency exchanges then I really don't see how that's your problem. He needs to take it on the chin and clearly state a sale price in his preferred currency in future. Sounds harsh but you've done nothing wrong and have no reason to be concerned. If he quibbles, point out that you fulfilled the purchase to the letter and in good faith. If he'd asked for payment in, say, Euros then the bank would have done the maths for you and told you how much to pay in pounds so that he gets his asking prices in Euros. That's how I always did it with international trading, and I never had any problems.

[quote name='Ruck' timestamp='1453476272' post='2959841'] Bank Transfer [/quote] To be clear, did the ad explicitly indicate a price in pounds sterling?

Until somebody who knows more turns up, I'll say this - the exchange rates you see on sites like XE.com are not the rates you see in the real world. Most financial institutions that exchange currencies offer different rates according to which way the exchange is going - ever noticed those 'we buy at... we sell at...' boards you invariably see in such places? Some charge fees as well for doing the exchange. If you paid by one of the standard methods for such transactions then this is almost certainly what's happened. It doesn't matter that you're not actually buying or selling currency as such; at some point the one currency has to be exchanged for the other, and this is where the bank will take it's cut. It sounds to me like the seller is either trying it on or else doesn't know how currency exchange works. If the sale price is in pounds and payment is made in pounds then the rest is outside your control, and IMHO not your problem.

[url="https://www.youtube.com/watch?v=LuSKX_gqHn4"]http://www.youtube.com/watch?v=LuSKX_gqHn4[/url] Need to work on your slide though...

[quote name='Beedster' timestamp='1452907858' post='2954736'] With Basschat and eBay as options I cannot see any reason to sell a bass in a shop. Fees are higher, risk of damage is higher, market is far lower. [/quote] Depends on the instrument to some degree (and depends on the shop of course...). After a sequence of bad experiences I wouldn't touch eBay with a 10-foot cattle prod, and after 15 months and several price drops I've had no takers on here. Upmarket lefties need as big a market as I can possibly manage (and in this case the 'if the price is right it'll sell' adage doesn't really apply IMHO).

I have two for sale at The Gallery ATM. Taking a very long time to sell, but in fairness they are both upmarket instruments (a Wal and a Regenerate) - and both Lefties of course - for which the natural market is very small. Fortunately I'm not in any hurry! 15% commission sounds a bit of a pain, but I know they're being well-looked-after by people who can actually offer sound, knowledgeable advice to anyone who asks (and who will keep a good eye on them when tyre kickers drop by on the offchance). They'll handle the haggling (on orders from me), and will do all the P&P (which TBH is the one part of trading I absolutely loathe). All in all I reckon it's a pretty fair arrangement.

Crikey! I have no idea how to choose! I don't think I've ever heard a song of his that I don't like (although to be fair there are some gaps in my knowledge...), but if pressed I'd have to say that his early stuff resonates most for me. Let's just say 'anything from Ziggy Stardust'. I'd rather not choose beyond there if that's ok with everybody...

I hope it's not out of place to offer one of my favourite songs of his as a personal tribute: [url="https://www.youtube.com/watch?v=B2HWuR2mq5M"]https://www.youtube.com/watch?v=B2HWuR2mq5M[/url]

No reportage at all on mainstream media... Edit. Just heard it on the BBC. I grew up listening to his music; still struggling to take it in ATM.

Oops! Wires got a bit crossed. That'll teach me to check before posting. Duly corrected with thanks.

[quote name='Grangur' timestamp='1452329254' post='2948854'] Wow. Thanks for the great thread. Just when I was thinking BC was going down the drain. I can't claim to know a lot about Modes, but something interesting to try is to noodle about using EPhrygian or any Phrygian come to that and it sounds really like flemenco. The flattened 2nd really nails that feel. [/quote] It's actually fairly common as a sound in genuine Flamenco. The b2nd gives the music a lovely dark, mystical quality (derived as it is from Moorish influences). There are one or two variations on the basic idea that you might want to play around with as well (I'll put them inside a spoiler tag because it's a bit of an aside, and folks won't need to read it if they don't want to): [spoiler] Some of the following have multiple names, so I'll use the ones I know... Phrygian Dominant: Root, b2, 3, 4, 5, b6, b7 (some will know this as the 5th mode of the Harmonic Minor scale ) Phrygian Arabic : Root, b2, 3, 4, 5, 6, b7 Hungarian Major : Root, b2, 3, 4, 5, b6, 7 There's many other ways of constructing a 7-note scale with a b2, but these are all pretty well known I think. Enjoy! [/spoiler] Traditionally the guitar is an instrument to accompany dance in Flamenco, but it has been developed into a distinct art form by players such as Paco Pena and Juan Martin among others. Well worth a listen if you can dig out some of their old recordings. Here's a lovely example of a young Pena and that gorgeous b2 sound: [url="https://www.youtube.com/watch?v=qGJ9S3Is6lY"]http://www.youtube.com/watch?v=qGJ9S3Is6lY[/url] ETA: The following is definitely off the beaten track but might help people make sense of the Flamenco piece: [spoiler] Structurally it is basically a theme and increasingly elaborate variations, and in this sense is related to traditional Scottish bagpipe music (Piobaireach - pronounced 'Pibroch'): [url="https://en.wikipedia.org/wiki/Pibroch"]https://en.wikipedia.org/wiki/Pibroch[/url] [/spoiler]

[quote name='bassman7755' timestamp='1452250231' post='2947984'] I don't really buy this, the [b]V chord is "dominant" because its 3rd is the leading note (7th) of the key[/b], not because it contains a b7th. This is also why we have a harmonic minor scale - because making the V chord major creates the leading note tension. [/quote] Hmm... I fear we may be talking at crossed purposes. I've been at pains to emphasize the 'character' of each of the modal scales. In the Dorian scale, the structure of the IV chord is Root, Major 3rd, Perfect 5th and (when used) a Flat 7th (which notes it gets from the parent Major scale). Last time I looked, that was called a dominant 7th chord, but by all means feel free to suggest an alternative that doesn't offend your sensibilities so much. I never said you [i][b]have[/b][/i] to have a IV7 chord; simply that by sticking to the standard harmonic structure this is what you get. In truth I didn't feel I was saying anything controversial - this stuff is standard music theory. For the record, I'm trying - still - to help a (somewhat confused) OP get a bit of a handle on the structure and characteristics of the modal variations of the Major scale, and in doing so am working quite hard to avoid weighing the text down with avoidable and/or marginally relevant technicalities. I'd like to think that everybody else here is trying to do the same...

I've just scanned the last few posts without looking too closely since it appeared that many of the responses to questions were largely duplicating mine... However (and in response to the question that was asked about the dominant chord in the Dorian scale), harmonic orthodoxy has the dominant chord at the fourth (G7 over D Dorian). Folks may recall me saying that each of the modal scales has it's own character? Well, part of the character of the Dorian scale is to have the Dominant chord at the fourth degree (and the m7b5 at the sixth degree while I'm at it). When you choose different start points from a single parent scale you're still using the original notes; and that means that all the original chords are still in the same places they were before you made the chance. Using C major as the parent scale, the chord at G will still be a dominant chord irrespective of where it comes in the new sequence. This is standard music theory, even if you don't want to talk about modes. [spoiler] While I'm on the subject, I disagree with urging people to forget about modes. It's a very useful piece of music theory, and knowing how they work is an important element in teaching the subject. Once you know how they work, you're surely in a much better position to decide when to step outside the orthodox structure. SHOUTING ABOUT IT doesn't make it any more or less true than it already was. There are certainly people who simply don't believe in modes (something else I said at a very early stage), but for many it's a useful little tool to have in your armoury. I have no intention of getting into a pissing contest about it as I don't teach any more and don't feel the need to impress anybody, but I'm not sure how screaming at the OP to forget about it is helping him - surely it's better to guide him through it and let him decide for himself. Don't you think?[/spoiler] Dominant chord variations is actually a pretty big subject in it's own right, especially if you're thinking about going down the Jazz route. Probably best to treat them separately from this stuff.

Sold a Nikon camera to Nik. Early payment, excellent comms throughout and a pleasure to deal with. Basschat trading as it should be! Cheers Nik.