dlloyd

I love the directions in this one... Release the penguins! (It might not be entirely real though)

[quote name='Eight' post='499987' date='May 28 2009, 04:08 PM']Great posts guys. No bar lines makes a lot of sense to me. So I'll add to my reform of standard notation by removing them.[/quote] You could remove rhythm altogether...

Here's an early version of the common time signature, in mensural notation (again, no barlines)

I found one by William Byrd, a hundred years or so earlier... no time signature and his staves had [b]six[/b] lines... crazy fool. Here's something that's a bit earlier, with the mensural time signature for 3/4 (almost... there's actually no bar lines, but you're supposed to count in threes)

[quote name='Eight' post='499916' date='May 28 2009, 02:53 PM']Who came up with the numeric time signatures though? Since e.g. 8 refers to its eighth status as part of a semibreve. Maybe that was done at the same time that the proper names for notes weren't good enough for someone? I don't know.[/quote] True enough. Here's the oldest score I could find with a time signature: It's handwritten by Bach. It's in cut common time, but goes to 3/8 briefly. So it was certainly in use in Europe by the early 18th century.

[quote name='dlloyd' post='499754' date='May 28 2009, 12:13 PM']Apart from rests.[/quote] Just to clarify what I said there (in case anyone actually picks up on it), semibreve rests almost always mean 'rest for a bar', rather than 'rest for four crotchets', regardless of the time signature. In 4/4, a bar long rest is denoted by a semibreve rest. In 3/4, a bar long rest is denoted by a semibreve rest. (even though there are less than 4 crotchets in the bar) In 12/8, a bar long rest is denoted by a semibreve rest. (even though there are more than 4 crotchets in the bar) The only exception is when the bar length is in multiples of a semibreve, when you'd use a breve rest.

[quote name='Eight' post='499840' date='May 28 2009, 01:35 PM']A better question might be this... If a semi breve (semi originally meaning half) is half of a breve (which it is). Why are the rest of the notes based on this and not based on the breve which would be the whole.[/quote] Because the people who came up with the whole note, half note system had never heard of a breve before.

[quote name='Eight' post='499640' date='May 28 2009, 10:11 AM']? They're all eighths of a semi-breve.[/quote] Apart from rests.

[quote name='Eight' post='499589' date='May 28 2009, 08:46 AM']+1 I hate fractions. Now, I'm sure I remember reading that once upon a time there was none of this 15 over 16 crapola. They used symbols to represent time signatures and I think we should bring that back. (Anyone who's had more than one cup of coffee this morning will probably be screaming "common time"/"alla breve" at the screen. Since of course, we do have two of those symbols left).[/quote] Mensural notation. 3/4 was represented by a full circle at one point. Stick a dot in the middle of it and it becomes 9/8. etc. Gets very confusing, very quickly!

[quote name='gareth' post='499001' date='May 27 2009, 04:42 PM']As a matter of interest why would you get rid of a valve amp for a tranny??????[/quote] Is an SVT 3 pro a tranny amp?

[quote name='EssentialTension' post='498287' date='May 26 2009, 08:46 PM']That one looks to have a slightly different pickup arrangement.[/quote] Yep. I think the body shape is slightly different too.

[quote name='Huge Hands' post='497905' date='May 26 2009, 12:12 PM']I note the site you got this from also lists the Jaco bass, has a more simplistic description, and mentions accompanying paperwork from Kevin Kaufmann.[/quote] So it does! [url="http://www.rockstarsguitars.com/product.php?c=1&cat=124&scat=234&x=0&y=617"]http://www.rockstarsguitars.com/product.ph...p;x=0&y=617[/url]

[quote name='rslaing' post='497904' date='May 26 2009, 12:12 PM']Yes, it is mentioned several times. I think the book is a great read, although there are many people who dispute some of the "facts" - including Jaco's family and his notorious last wife.[/quote] I enjoyed the book as well. The main issue with the book appears to be that it concentrates on a period (when Milkowski was acquainted with Jaco) in which Jaco's bipolar episodes were more extreme and that it doesn't pull any punches about his behaviour. Ingrid lists some inaccuracies on her web page and they're more a matter of emphasis than anything else. It must have been painful for the family to read the book, but I think it would have been a disservice to him to gloss over his manic episodes that caused the behavioural issues.

You're right, of course. There's no rational reason to go for a pre-CBS Fender at that kind of price as a playing instrument... but I'll happily admit I'm irrational and would love to have one. Just 'because'. Although I might be tempted by this: [url="http://www.rockstarsguitars.com/product_details.php?c=1&prod_id=450&cat=112&scat=217&x=0&y=265"]http://www.rockstarsguitars.com/product_de...p;x=0&y=265[/url] which probably plays worse than any 60s Fender. I believe the 'Jaco' bass is mentioned in Milkowski's book... I might be wrong. I can't imagine it would be difficult to get confirmation of its identity from Kevin Kaufman.

[quote name='rslaing' post='497749' date='May 26 2009, 07:35 AM']I hope the buyer for this got some certification for the claims in the auction blurb. The final selling price of £6000 for a bass with non certified history, and not even owned by the man they are using in the marketing to get the price up (plus some seriously questionable modifications which ordinarily would slash the potential value) is a lot of money.[/quote] I've seen pre-CBS jazzes go for a lot more than that, albeit in better shape than this one. What price do you think would be reasonable for a 1960 jazz in that condition (without the Jaco link)?

[quote name='thepurpleblob' post='497792' date='May 26 2009, 09:51 AM']Well thanks to the power of t'internet / myspace and simply asking Mark what it was.... Hutchins Chandler.... new one on me![/quote] There's one for £399 here: [url="http://www.mdm-music.info/guitars.php?type=2&pagename=Bass%20Guitars"]http://www.mdm-music.info/guitars.php?type...=Bass%20Guitars[/url]

[quote name='JanSpeeltBas' post='497330' date='May 25 2009, 03:34 PM']Yes, the Robots at Warmoth's...years ago it was revealed Sadowsky's are parts-instruments - bodies & necks are aquired from suppliers and finished and assembled in Sadowsky's workshop.[/quote] Roger Sadowsky addressed this on Talk Bass a while back: [quote]I guess it is my turn to join this discussion: 1) Several people have posted and commented that Sadowsky uses Warmoth parts. I would like to address this for what I hope will be the last time. I did use some Warmoth parts during the 80's and have ordered an occasional neck from them for some of our repair customers during the years. However, Sadowsky has not used any Warmoth necks or bodies on their basses for at least the last 10 years. 2) Regarding subcontractors....Many instrument companies use subcontractors. It is very difficult to balance quality and maintain costs. If we were making every body by "hand" (which no one really does), costs would be absurdly high and consistancy would be very low. The average cost of a CNC machine (a computerized carving machine), with software, is about $125,000.00. Because that is beyond the means of most of us "smaller" guys, there are companies that own these machines who make parts for the "rest of us". Sadowsky, Lakland, Lull, Turner and lots more of us use various subcontractors. I know this takes some of the "romanticism" out of the process for you, but that is the way it is. Regarding our electronics---when you go through hundreds of circuits a year, you don't hand wire each one by hand. You design the circuit, make the prototype, and then you outsource it to a shop than just makes circuit boards! I had to make an important decision about 20 years ago. I could set up shop where I could do all the woodworking by myself. This would have meant locating where there are very few professional players. Instead, I chose to locate in the middle of Manhattan, where the top players could easily get to my shop. As long as I had good subcontractors I could depend on, I felt it more important to have the one-on-one and the indespensible feedback from the top players. This was also motivated by the fact that I still do a lot of repair and restoration work. I have never regretted this decision. It is hard to make a "working musician's" instrument if you don't have many working musicians to interact with. I build a Fender style instrument because that is what my clientele demands of me. 20 years ago, it was almost impossible to walk into a studio in NYC with anything other than a Fender. In fact the Union directory had two bass listings: Upright Bass and Fender Bass! All electric basses were referred to as Fender bass. There was a great deal of pressure on the bassists to only bring a Fender to a session. If I had a couple of million dollars, I could set up my own manufacturing facility outside of the city, but I can only be in one place at one time so it works just as well to use the subcontractors. Keep the following in mind: We purchase all of our wood directly. We hand build all of the "prototypes" that get sent to the subcontractor. We own all of the fixturing and programming. We continuously monitor the quality of our parts to be sure they are worthy of the Sadowsky name. The bodies come into our shop unsanded. We do all of the edge contouring, finish sanding and hand fit every neck pocket to get a perfect fit to out necks. Many of our bodies get additional routing and shaping done in our shop. The necks come in unsanded. We true each fingerboard one at a time, fret the necks, dress the frets, finish sand the necks, and spray the necks. On custom orders, we hand shape the neck too. Our assembly process is impeccable with regard to the quality of our components and workmanship. So I hope you can see that we definetly are a "hands-on" shop. I could not have achieved the reputation I have if I were simply buying a neck and body and "screwing them together". I think anyone who has had the opportunity to play a Sadowsky can appreciate the quality of the instrument. That doesn't mean they are for everyone---instrument choice is very subjective. What is nice is that all of us....Sadowsky, Lakland, Mike Tobias, Spector, Fodera, etc....all have lots of players that think we make the best instrument in the world! It's kind of perfect that way---don't you think? You don't have to disparage the other builders just because you prefer someone else's instruments. Lastly, many people speculate on this forum about issues related to Sadowsky without ever bothering to email me directly with their question. I am here and I am happy to answer all of your emails individually. Hope this clears things up for some of you. Sincerely, Roger Sadowsky[/quote]

[quote name='benwhiteuk' post='497654' date='May 25 2009, 11:13 PM'] yeah sorry, I’m sure it does, it just sounds like one of those jokes that sounds like it could be feasible but is a complete piss take.[/quote] Just keep it away from any natural orifice and you'll be fine

[quote name='benwhiteuk' post='497636' date='May 25 2009, 10:44 PM']Superglue your finger to the middle of your forehead…[/quote] Seriously, it works. You can't even feel it. (The forearm thing)

Superglue your finger tip to your fore arm and rip it off. It takes a thin layer of skin from your forearm onto your finger tip and makes the superglue more durable. Disclaimer: It works for me and leaves no marks on my arm... I have no idea whether [i]you'll[/i] end up tearing chunks out of your arm.