dlloyd

[quote name='toneknob' timestamp='1493477376' post='3288653'] Here's a pretty cool Morris dancing video. An ex-colleague is one of the side, he's the one in the hat and bells. [media]http://www.youtube.com/watch?v=AqVYDRM842s[/media] (I really like the straw man) [/quote] Ha! That was rather fine!

[quote name='SH73' timestamp='1493408767' post='3288211'] To answer your question. Flats sounds awesome with overdrive. [/quote] Lol. I would never have guessed from your avatar that you liked that tone!

I've defretted basses in the past. Dry wood can be an issue on a rosewood board... more prone to chipping as you remove the frets... this can be deal with by oiling the board carefully and having some wood glue to hand when you're pulling the frets. Filler works fine... I'd only use veneer for aesthetics. Superglue is as good a finish as any.

[quote name='Steve Woodcock' timestamp='1493174879' post='3286230'] Not my limitations, rather those of traditional music notation practices. You are correct that a modulation to the dominant of C# major would be written in G# major rather than Ab major as to avoid mixing numerous sharps and flats, however my point was that a [i]key signature[/i] with a double accidental is never used and is therefore a theoretical concept. [/quote] That's what I thought too. However John Fould's World Requiem ([url="https://en.wikipedia.org/wiki/A_World_Requiem"]https://en.wikipedia...A_World_Requiem[/url]) apparently has a section written in G# major with the double sharp in the key signature. I have never seen the score. Edit: And here's one in the key of Fb: http://www.enspub.com/pages/sku93503.htm

I would have loved to go to somewhere like the Guitar Institute/Basstech (or their current incarnation, ICMP) but sadly had a more conventional/sensible career path. Some of their celebrity success stories are a bit iffy. Would be interesting to know how genuine some of the claims of celebrity alumni are.

[quote name='JuliusGroove' timestamp='1493065074' post='3285381'] Going to out a fretless neck on my Mexican jazz, any recommendations on where to get/what woods etc? My first time doing anything like this so any advice is greatly appreciated! [/quote] A DIY job is surprisingly easy to do. Get any old second hand neck (or the one that's on it) and pull the frets out. A rosewood finger board with dots and without binding is easiest to deal with. Make sure the fingerboard is in reasonably good shape... treat it with a little oil if it's dry and wait a day or two to soak in properly. Dry wood will chip easier. Have some wood glue on hand to put back any chipped wood and prise the frets out gently. They come out easier than you'd expect... the butter knife story about Jaco's bass probably is true. You can replace the frets with veneer strips if you want to do a proper job. I used wood filler and it's still fine more than ten years later. To harden the surface to prevent string damage, cyanoacrylate works a charm. Yep, superglue. Clean/sand the fingerboard first. Spread the glue on thinly with a piece of cardboard, let it dry and sand flat with fine wet and dry paper. You may need to cut the nut slots a little deeper.

https://www.thomann.de/gb/dunlop_celluloid_teardrop_med_bk.htm?glp=1&gclid=CMjYwZTUutMCFYEV0wodqisJRA https://www.amazon.co.uk/Dunlop-Tortex-Teardrop-Plectrum-Guitar/dp/B018ICWCS4

[quote name='Steve Woodcock' timestamp='1492872898' post='3283815'] [i]Theoretical [/i]being the key word there, it really is an academic exercise and of no practical use. [/quote] There are real pieces of music that are written in keys that fall outside of the limitations you're claiming, but sure, they are few and far between. It's important to understand that G# is not the same as Ab in use, even if they sound exactly the same on a fixed pitch instrument. There are solid reasons why a composer would use G# major rather than Ab major, for example a modulation from C# major to G# major is far easier for orchestral instrumentalists to deal with than rewriting everything after the key change to Ab major. For most of us though, we'll never have to deal with thinking about these things. And I confess... on my grade 7 clarinet exam I cheated and played a Db major scale when I was asked for C# major.

[quote name='SubsonicSimpleton' timestamp='1492858097' post='3283682'] What desk are you using? Most desks have XLR input which feeds the mic preamp, then there is an insert point on 1/4" TRS which can be used to patch in things like compressors, the insert point usually is situated in the signal chain after the mic pre and before the EQ. [/quote] Not sure... To put it into perspective, we're a mostly acoustic jazz group that gigs regularly but varies from a duo to a quintet. On a lot of gigs we don't use any PA at all, but in larger venues we generally use house PAs. It would be too much hassle to record most of these but we have a regular monthly slot at a venue where we use the house PA... not sure what the desk is, but it has 8 channels. It looks to be of reasonable quality... sounds okay. On the regular gig we have two vocals, three acoustic guitars and a double bass. Guitars have undersaddle pickups and are DI'd from amps to the desk. I'd prefer to have them mic'd and do away with the amps other than for monitoring.

[quote name='Trueno' timestamp='1492859806' post='3283694'] Never seen a double sharp or double flat as a key, although I have seen it in music where it aids the playing of the music (or at least it does for woodwind). [/quote] Obvious places to find a double sharp within a score would be in G# minor, where the F# is sharpened to Fx, but yeah, I started to see them around grade 6 clarinet. There's a few examples of scores written in G# major here: https://en.wikipedia.org/wiki/G-sharp_major Not common at all.

[quote name='Steve Woodcock' timestamp='1492519430' post='3280863'][b]there are only 7 notes in a key therefore the most alterations a key signature can contain is 7[/b] [/quote] Just to be pedantic, there is no theoretical limit to 7 sharps or flats. Just going through the sharp keys: G = 1 sharp, F# D = 2 sharps, F#, C# A = 3 sharps, F#, C#, G# E = 4 sharps, F#, C#, G#, D# B = 5 sharps, F#, C#, G#, D#, A# F# = 6 sharps, F#, C#, G#, D#, A#, E# (we're really at the limits of most practical usage here) C# = 7 sharps, F#, C#, G#, D#, A#, E#, B# G# = 8 sharps, Fx, C#, G#, D#, A#, E#, B# D# = 9 sharps, Fx, Cx, G#, D#, A#, E#, B# etc. Fx is "F double sharp" = G natural. Triple sharps are given the symbol "#x". I have never seen one in the wild. Believe it or not, there is music out there written in G# major. The situation for flat keys is similar... Double flats get the symbol "bb" Fb major has Bbb, Eb, Ab, Db, Gb, Cb, Fb

[quote name='SubsonicSimpleton' timestamp='1492799491' post='3283379'] The Cymatic is designed to piggyback the signal from insert points on each channel of the mixer using a very simple wiring loom(1/4"TRS to 1/4"TRS for each channel), so no need to worry as long as your desk has insert points for each channel. [/quote] How would that work with XLR inputs? (As you can tell, I'm a novice with this stuff)

[quote name='MisterT' timestamp='1492809645' post='3283474'] Became a bit 'black' for my liking - always revolving around opression and such. I've never judged funk (or people for that matter) on colour, but the program did and I feel sorry for whoever thinks it's a colour thing. Hope that's not too controversial but it's weird being white and being conditioned into thinking you like 'black music'. WTF? [/quote] Where do you think funk came from?

[quote name='Downdown' timestamp='1487615373' post='3241246'] I have one of these: [url="http://www.cymaticaudio.com/products/recorders-players/live-recorder-lr16"]http://www.cymaticau...e-recorder-lr16[/url] No messing around during a live gig with laptops etc, just records up to 16 channels into wav files on a hard drive. Then, at your leisure, just import the wav files into your DAW and edit, overdub and mix away. [/quote] Still looking at these... I may need to upgrade the mixer to something that has 6+ aux sends... any recommendations for something reasonable?

Depends entirely on the context. What's the gig? How big is the setlist? How much am I being paid? For the tune in question... Five to ten minutes to learn a passable version. As far as rehearsing it goes... depends again on context. With musicians I'm comfortable with, one run through should be enough to produce a tight performance. A band I haven't played with before... depends how good they are.

http://www.aeroinstrument.com/accessories.html

[quote name='owen' timestamp='1492466553' post='3280562'] Ugh, changing right hand technique. I would have to practice and stuff. I am quite old to be doing new things. But thanks. [/quote] I spent a long time playing about with this when I read an article in Bass Player magazine by Adam Nitti about it... he calls it the movable anchor. Bassically it involves moving your thumb so that it is anchored on the string below the one you are playing and using a rest stroke to sound the string. [list] [*]If you're playing on the A string, you anchor your right hand thumb on the E string and sound the A string by pulling your index or ring finger into your thumb. [*]If you're playing the D string you anchor your right hand thumb on the A string. [*]If you're playing the G string you anchor your right hand thumb on the D string. [/list] Here's where it gets clever... the right hand thumb will rest on all of the lower strings as well, muting them. If you're anchored on the D string, you'll be muting the E and A with the side of your thumb. Strings higher than the one you're playing are muted with the left hand. http://bassmusicianmagazine.com/2008/04/plucking-hand-specifics/

[quote name='arthurhenry' timestamp='1491663060' post='3274648'] The old adage of "Play stuff they can dance too, sell more beer; Happy landlady/lord" is sometimes too simple to be true. Over the years I have found that the personal taste of the venue owner has much to do with whether or not you are re-booked. [/quote] Are these freeholds or managed pubs? Managers working for a chain draw a salary. It makes no difference to them if they are making steady business or if they are packing the place out...

I ordered a couple of packs of strings from them on Tuesday and they haven't arrived yet. Four days is not a huge deal, but it's become the norm for orders like that to arrive within two days. Website says they're all in stock.

Ibanez are consistently good. I have a mid-range Ibanez jazz box (AFJ95)... it's as good a guitar as I'll need and has good quality hardware that won't need replaced. You'll get something playable at the price point you've quoted. It won't sound terrible and it'll look the part. You'll notice a difference between it and mid/high range guitars, but it won't be enormous. You will need to amplify it to play live. The warm tone that you hear in amplified jazz guitar is mostly the result of using the neck pickup with the tone rolled off and has little to do with the shape of the guitar.

Simplifying things a little, but they're probably getting paid around £1 per 1000 views. So they're giving their videos titles that will encourage people to click on them. Talent is great, but marketing pays the bills.

[quote name='Twincam' timestamp='1491576249' post='3274098'] Mineral oils smell nice and don't do a bad job. But boiled linseed oil gives a little more protection especially after its been treated a few times (sparingly) but it does smell a bit for the first few days. Too much of either oil is a bad thing though. Once or twice a year is sufficient. And lighter fluid is good to remove crap but I wouldn't use it too often. I hear jimmy Hendrix was once using it on stage to clean his guitar with disastrous results lol. [/quote] Lighter fluid is okay... but yeah, don't pour it on! Put it on a cloth and wipe the fingerboard with it... gets most of the dirt off. I clean guitars maybe once a year, if that. My main acoustic needs cleaned and my zippo needs filled, so I might kill two birds with one stone...

[quote name='steve-bbb' timestamp='1491553745' post='3273857'] i just started a 'related' thread over on another board re this - do you know is the dunlop stuff neat lemon or is it diluted with a carrier oil? [/quote] It's scented mineral oil from what I understand. It works fine... I've been using it for decades. Spot it on a cloth and wipe it on the fretboard. It may take a few applications, but leave it a while before reapplying. Once the fretboard retains the vibrant, freshly oiled look, stop. Easy as that.

[quote name='bazztard' timestamp='1490679913' post='3266898'] just water, wipe some on the board,apply brush, wipe off OH, don't forget to put a clean brush head on the toothbrush first [/quote] I wouldn't use water... it won't do anything to remove dirt build up, which is generally oil based. Remove any major build up of "fingerpoo" with an old credit card. Clean the rest with a cloth that has a small amount of lighter fluid on it (Americans call it naphtha, it's just the stuff we use in petrol lighters). Treat with lemon oil (the Dunlop stuff is good).

[quote name='kodiakblair' timestamp='1491343455' post='3272349'] dlloyd Great band Man or Astroman ? [/quote] Yeah, but the trouble with them is you're never sure whether you're being asked a question...