Dad3353

S'what I tried to explain to the judge and jury, but, apparently, they don't think that it applies to killing sprees .

Maybe not the best choice for an audition on bass..?

And the winner is... @Leonard Smalls..! Here, then, is your Winner's Certificate (download and save as pdf file, then proudly print and frame...) ... BC_Chal_Cert_2024_02.pdf ... which looks like this (but bigger, of course..!)...

'Cash only' is often associated with not all of the receipts being declared. Not always, of course, and the Authorities are aware of these 'leaks', and use other, parallel, methods for checking, such as correlating raw materials bought and declared sales. Just sayin'.

'Made in the USA' and 'Made in Japan' or Korea have long ceased to be any guarantee of quality.

It's beginning to look likely that I'll be sending out Certificates in bulk..! Luckily there's no postage surcharge, but the lettering is going to be tiny if I have to cram it all onto one document..!

There's an extra ring on the jack plug, for the mic connection, so it may not be compatible with your current IEM socket.

Ditto.

This a great 'consumer' policy, buying stuff that will become useless by design, and thus destined for scrap. Buy again, and repeat... Is there no better way..? Is there not an inherent wastage here, with the 'new' stuff offering little in the way of real extra value. Then we wonder why the climate is changing..! First World, eh..?

From Norwich, originally, but the family relocated to Bedfont when I was eight; I left for Shepperton at twenty, and for France at twenty-five ('75...). Happy daze; the local bus numbers still come to mind whenever they crop up (116 to Hounslow or Staines, 285 to Hampton for school or Kingston, 237 for Chertsey etc...).

Coincidence..? I'm from Norfolk, originally. Small world..?

Be aware (when playing in general, church or elsewhere...) that this may work if everyone else is playing their stuff 'standard'. Some may well be embellishing themselves, however, in which case your own way may clash with their way. If this is indeed your first outing, I'd suggest playing safe, and sticking to the guaranteed root notes, and listening to what other stuff may be going down, as preparation for the next time, when you will have a better idea of where to 'place' the bass. Just a thought.

Here's the manual; start at p48..? BOSS GT-10B manual.pdf

I bought my first copy from the fusty-dusty music shop (Bell Music, Hounslow...) at the same time as my first guitar, a Russian-built classical guitar, strung with cheese wire steel strings. A wide, flat neck, a bolt through the neck heel to hold it in place; in fairness I knew no better back then (mid '60s...). I spent a year or so on the first chord chart page, changing from G to GMaj7, to GMaj6, then GMin7, GMin6, chromatically up and down the telegraph pole neck, then the chord substitution examples, and built-in melodies. It stood me in good stead for the decades since; I've added much theory from other sources, and have a pile of jazz methods and chord dictionaries of all sorts. I might not recommend Mickey Baker as one's sole source of knowledge, but what's in there is quite definitely valuable stuff, and well worth the effort, even as a complete novice. It inspired me, for instance, to acquire my first Hofner arch-top (President Thin Florentine cut, tobacco burst E2, that I was a fool to not keep; I've been looking for another ever since...). After the Russian guitar, all talk of 'playability' and 'neck width', on guitar or bass, bring out a wry smile from me. It's like the bloke who always bought size 8 shoes, when his feet were size 9. When asked why, he would reply 'It's such a great feeling when I take them off'.

A thousand times 'Yes', without reserve. A gold mine, and at a ridiculously low price. A no-brainer. I've worn out several copies, and always buy it again; I still consult it often. Did I mention 'Yes'..?

I'd probably never 'see' a B11, as I play (read 'noodle'...) my own stuff, based around what I've retained from my Mickey Baker books from the '60s. Maj7, m7, Maj6, m6, a few other odds and sods for 'turnarounds' and that's about it. I can spin this little amount out for hours; my sons and friends usually take the guitar away from me after a while. (Oh, yes, some 7th chords sprinkled in there, too ...)

To me, that's F#m7; I'd be playing the root note on the bottom 'E' string, second fret, if there's no bass or keys playing, and mute (or just don't play...) the 'A' string. I'd drop the 'D' string down a semitone for the m6. I use these chords, along with Maj7 and Maj6 a lot. Just sayin'.