Earbrass

Terve! I am a big "Suomiphile", and a massive fan of Finnish music (folk mainly) and have been trying to learn the language for the last five years. Whereabouts in Finland are you from? Onnentoivotukset, E

Seems to inhabit a similar musical universe of pain to Diamanda Galas, much of whose music was I think inspired by the AIDS disaster of the 80's and who is also something of an acquired taste; here's one of her more accessible tracks:

Mary Coughlan Tuuletar Mari Boine Värttinä Laboratorium Piesni

This. For some people, collecting stuff is more important than the music, as is often evident on this site with basses and other gear.

Mari Boine's Eallin - 4/4 tune sung / played over a 5/4 drum pattern.

Maybe try recording yourself playing something rhythmically complex on bass (using your DAW's metronome to keep in line with the DAW bars/beats) and then look at it in the DAW to see where the notes fall, and then try to program something similar using your sequencer?

More folk-rock than plain rock, Tielle Heitetty by Finnish band Värttinä is in 11/4, and their track Kivutar is largely in 37/8, though I can't claim to have counted that one myself.

When this topic came up some years ago, I remember suggesting that the term "gubbins-hiders" was actually more descriptive of their actual function on solid bodied guitars.

Girls DO NOT just want to have fun. Apparently.

...or an eidget.

https://www.gak.co.uk/en/peavey-milestone-bass-bk/89094 https://www.guitarguitar.co.uk/product/191223353037008--ibanez-gsr180-bem-gio-baltic-blue-metallic

Thinking a bit more about livestreamed gigs, what about having hybrid gigs, where a small, socially-distanced live audience is augmented by selling online tickets too? This could possibly make gigs in small venues financially viable where they wouldn't otherwise be with distancing regs, and give the online experience more atmosphere at the same time. Again, it's just a thought, and hopefully others will have other, better, thoughts - what's needed now is some imagination and some new approaches, rather than just waiting for things to return to "normal".

I understand what you are saying, and I agree that a livestreamed gig is not a complete or perfect replacement for live gigs, and also with Ambient's point about it working better for some genres than others, but I also remember when videos first came out that people said it would never replace the experience of watching a film on a big screen amidst a large audience, and indeed it hasn't completely replaced it. However there is now a lot of money in the home cinema market, both with DVDs and streamed content, and I think that any musician wondering where their income is going to come from in a post-covid world would do well to consider whether they could use the new technology as a part of their work - not necessarily giving up live gigs altogether, but maybe using some combination of the two to enhance their profile and income.

Since the crisis began, I have seen some wonderful livestreamed gigs from several of my favourite artists. Such gigs offer advantages for both the audience and performers. As a virtual gig-goer, I did not need to travel (the gigs I watched were from Finland, but they could have been from almost anywhere in the world), I didn't have to deal with the idiocy of fellow gig-goers playing constantly with their mobile phones, I could watch them whenever and wherever I wanted, pause them for a loo-break or to put the kettle on, and the sound was excellent, and not at the mercy of room acoustics or dodgy PAs. Performers can play a gig to a virtually unlimited audience - it's just up to them how many people they can attract. No need for much of the heavy gear they usually have to lug around, or for anti-social levels of volume which have increasingly made small venues less viable in our overcrowded cities. No having to deal with drunken punters falling into their gear, asking for requests, or to be allowed to sing or otherwise making a nuisance of themselves. The gigs I have seen were free, or in one case with optional tickets for those wishing to support the artists financially, but they could be monetised fairly simply (much as online music lessons have been). Just as watching films at home is steadily replacing trips to the cinema, perhaps this could be the future trend for many gigs, and those bands that learn to exploit the new technology fastest could be ahead of the game. Just a thought.

I wouldn't bank on it - the description says "A UNIQUE '54 PRECISION/JAZZ BASS HYBRID!" - so presumably they only made the one.

I suspect that people who play in bands are going to be more motivated to return to gigging than audiences will be to return to attending.

P necks are thicker, so they need to use more wood. That stuff doesn't grow on trees y'know.

Left one is smiley, right one is gritting its teeth.

No. It's just the size of the gap between 2 notes. The "root" changes with the key you're playing in, but the size of the gap between any 2 given notes is independent of the key (at least in equal temperament tunings, which is what we overwhelmingly use). A perfect 4th is a 5 semitone (or 5 fret) gap.

My advice would be to start by learning to recognise the different musical intervals. It can be helpful to have memorised examples of each (eg perfect 4th - first 2 notes of Away in a Manger, perfect 5th - first 2 notes of Thus Spake Zarathustra (2001: a Space Odyssey theme) and so on). Good luck!

"Version" is about right. Sorry, but I think she completely ruins it. Catherine Bott / Christopher Hogwood / The Academy of Ancient Music FTW.

When I am Laid in Earth (Purcell's Dido and Aeneas) Gloomy Sunday - Diamanda Galas Follow those with one of mine, so any attendees can reflect that it's actually no great loss after all.

My GAS rule of thumb: give it 3 months - if I still want it after that I'll usually get it, but often I've lost interest and started GASsing for something different by then.