Bloodaxe

[quote name='bh2' post='952080' date='Sep 10 2010, 05:51 PM']Enfield... [url="http://www.enfieldguitars.com/index.htm"]http://www.enfieldguitars.com/index.htm[/url][/quote] That's not too bad, but I'd lose the cannon & replace it with a pair of crossed .303s... that'd be symmetrical & a little more appropriate. Maybe a bit more detail in the Bentley-knockoff winged outline. This has always put me off a generally fine brand: Looks like it was drawn by the owner's teenage son in biro in an excercise book.

[quote name='thisnameistaken' post='950051' date='Sep 8 2010, 10:55 PM']I went to see that Scott Pilgrim flick last weekend, he's got a lovely fireglo Ric bass that gets destroyed fighting a vegan bass player with a Mustang. In the next scene the Ric was held together with gaffa tape and I was distraught![/quote] I would be too! Rick QC is frankly shocking for the prices they ask [quote name='TimR' post='950068' date='Sep 8 2010, 11:09 PM']The big secret is that Townsend used to swap his guitar for the last song with one that had been glued back together from the previous show.[/quote] Ritchie Blackmore did much the same in Rainbow. I'm sure I've seen footage of him playing a Strat one minute, & then a Hondo/Encore meets a messy end.

Going back to your Big Metal Box with a special bracket idea... Why not have a big metal box with a hinged lid, one switch and two jack sockets? Just an overgrown bypass switch. With two patch leads you could connect any effect you wanted. You'd need a couple of springs or some stiff foam to hold it slightly open, and the switch could be either a conventional stomp type or a microswitch. Pete.

[quote name='Annoying Twit' post='948164' date='Sep 7 2010, 12:00 PM']Are there any interesting bass lines which are basically rootnote only? "Interesting" in any particular way, though clearly rhythm is probably going to have something to do with it. I can think of "One of these Days" by Pink Floyd, which I presume fits, but are there others? I'd appreciate hearing people say why they think the bass line is interesting.[/quote] Most of Cliff Williams' career has been spent following the root. Boring? Nah. Same goes for Alan Lancaster & a fair swedge of Roger Glover. The rest of the band can rock, but only [i]we[/i] can make it roll. P.

[quote name='Linus27' post='942277' date='Sep 1 2010, 03:55 PM']You are past saving my son, you have a Mark Bass, yo are going to hell [/quote] Where does that leave me then? I've an Ashdown Superfly and... and... and... I LIKE IT! [size=1]there, I've said it.[/size] While I'm at it... Jaco's overrated, Fenders are meh, & I think Slapping's a bit nancy. Season Ticket On A One-Way Ride?

[url="http://instantrimshot.com/index.php?sound=rimshot&play=true"]http://instantrimshot.com/index.php?sound=...t&play=true[/url]

Tentatively PM'd

Jaco only needed transistors.

[quote name='iconic' post='942226' date='Sep 1 2010, 03:23 PM']just needed a bigger tug on my pup, the foam pup buffer had 28 years of sticktion on it![/quote] I do like tugging a pup. If the foam's gone a bit yuk (or more likely solid), hight ye unto Tesco and liberate therefrom an Value Mousemat. Slice it up with a big sharp knife & you're done. Also, now that you've un-gunked the pickup bolts, watch 'em like a hawk. One of them will be rogue & will try to escape.

I'll play... TSB-400 - £120 + Kahler (£180) = £300 RSB-5 - £160 RSB Special - £50 ZZB Deluxe - £380 SB-900 - £350 SB-1000 - £250 but with all the mods nearer £500 So that's... £1740 or thereabouts, not including P&P, train tickets, etc. Factor in the rig at around £800, & it all totals to a figure not unadjacent to: £2540 P.

[quote name='Big_Stu' post='933043' date='Aug 22 2010, 08:26 PM']Which to me is what a LOT - but not all - and I DO still enjoy the majority of it - honest - is what the Jimi Hendrix Experience sounds like. On a recent BBC prog they showed the whole of their slot on the classic Lulu show prog. And it really seemed like 3 diff songs at the same time. still great, but Jimi would have sounded no worse playing on his own for most of it. HM-Jazz, before HM was invented![/quote] No arguments here. Many moons ago I "acquired" the full Woodstock set of Hendrix, & there's a worrying amount of Jazz Odessey-ness going on there as well. Mind you, if we assume the likelihood that Hendrix & Co. had consumed the entire stock of a medium-sized pharmacy beforehand, it's distinctly possible that they [u][i]were[/i][/u] playing three different tunes at once. Bloody Hippies Also worth bearing in mind the term "Jazz Cigarette" [i]wasn't[/i] invented by Rockers. There's a very fine line between "out of the box" and "off your face". P.

[quote name='gjones' post='932354' date='Aug 21 2010, 11:49 PM']Listen to this and it will convert you instantly [url="http://www.youtube.com/watch?v=wuf-U1SDuWw&feature=related"]http://www.youtube.com/watch?v=wuf-U1SDuWw...feature=related[/url][/quote] The trouble I have with this clip is that it's more likely to convert me to The Quo!* I'll have to assume that there's a structure/connection linking the pianist & drummer, but I'm damned if I know what it is & [u][i]to me[/i][/u] it [i]does[/i] sound as though they're off on tangents and soloing without any regard for each other. This, on the other hand... Nice extension on a II-V-I: And Now For Something Completely Ambient: Pete. *[size=1]Not that I need converting, Teh Qou are awesome[/size]

Depends on your definition of "Jazz" I guess - it's a [i]very[/i] broad genre. I cannot stand/understand the Free/Hard side of jazz (Ornette Coleman, Charlie Parker etc.), & the Smooth/Dinner end of things (Stan Getz etc) bores me to tears. What I [i]do[/i] go for, however, is some of the middle ground. Take a punt at Cannonball Adderley, early Miles Davis (Kind of Blue etc), Jimmy Smith, Dave Brubeck, Oscar Peterson, Duke Ellington & so forth. Some of the Scandinavian stuff is worth a go too - Nils Petter Molvaer & the awesomely named Nils Henning Oersted Pedersen (usually abbreviated to NHOP). Very few of these would qualify as "Jazz Club" contenders. If Funk is an essential component, Maceo Parker is right up there. 1/3 of the JB Horns (the other two are Fred Wesley & Pee-Wee Ellis). If your local library is any good, dip into their CD racks - it's a good cheap way of finding new things to listen to. Pete.

Stumped for words. RIP Simon.

[quote name='BurritoBass' post='924596' date='Aug 14 2010, 01:44 AM']As a very small boy I remember wearing out my parents old vinyl records - 60s rock, country & soul. When I hit my teens I was into Glam & punk but as I started to get bored of the newer bands coming through I began to trace the influences of the bands I'd discovered... guess what? I wound up going full circle![/quote] Snap! (nearly). I was brought up with a Dansette & my brothers' cast-off Beatles 45s. Turning Point 1 was this: Still gets me today (40-odd years on!) Fast forward 10 years or so to 1979 & I discovered Stuart Coleman's Rock 'n' Roll show on Radio 1. Loads of mixed-up stuff, as well as the Usual Suspects - Elvis, Bill Haley, Jerry Lee etc. For me that music had all the energy of Punk, but threw Melody into the mix too. That was Moment Number 2. Hop to 1981. My dad's job (GCHQ) took us to Hong Kong (better for spyin' on the Chinese with rays I guess ), & I was in the 6th form out there. A bit of a fish out of water musically, tbh. No love for The R 'n' R amongst my peers who were roughly split into Disco & NWOBHM camps with a few Punks & Mods in the corner. We had a stereo in the common room, & much stuff was played, most of which I hated - including Hendrix's Star Spangled Banner, which I regarded as noise of the sh**e variety. One day, someone tripped in with "If You Want Blood..." & Angus' solo in Let There Be Rock was Turning Point 3. That little pastiche boogie run he does? That bit. That was the link. Blagged a few albums off my mates & taped them (Overkill, Vol.4, British Steel & Wheels of Steel), then bought "Made In Japan". The same year I was back in the UK for the summer & went to Port Vale and Donington, started growing my hair & cut/tore the sleeves off my denim jacket. Happy Days. So from Bill Haley to seeing Frank Marino, Ozzy with Randy Rhodes, & Motorhead (Port Vale), Slade, Blue Oyster Cult, Blackfoot, Whitesnake & AC/DC in the space of a couple of months. Lately though I've gone back to TP 2 & I'm still enamoured with the '50s tunes, with the bonus of all the other stuff I picked up on the way. Edit! Forgot one! It'll have to be TP 1a. Back in 1973 we were doing our first stay in HK, & I went to the pictures to see [url="http://www.youtube.com/watch?v=CV9ysMZamxs"]Rollerball starring James Caan...[/url] The title music? Bach's Toccata & Fugue in D Minor. Didn't get hold of it until 1980, but that stuck. I do like a massive organ This version to be precise: Glorious. Pete.

[quote name='Stingray5' post='924799' date='Aug 14 2010, 11:53 AM']Holy cr*p! 25 years working in and managing record stores and I still find stuff I missed the first time around... I discovered the Little River Band decades ago, so how I missed these guys I'll never know. Oh well, better late than never, eh?! Thanks wookmeista for flagging up CC.[/quote] It happens & it it's nice when it does . There's a double "Very Best Of" that covers pretty much all the bases, with a couple of exceptions. Great basslines, inventive & melodic, but never in the way. Pete.

[quote name='WOOKMEISTA' post='924686' date='Aug 14 2010, 09:55 AM']Sup. Why the hell(seriousley)is there 'F' all cold chisel bass tabs. This sux!!!!!!!! Not that i mind but ive had to learn forever now by ear. Bloody good song! Yeah............[/quote] Probably because there's just you & me that have heard of 'em Seriously, Cold Chisel are a bit "niche" - I'd lay money that most people would associate Jimmy Barnes with INXS & be completely unaware of his previous career. I found out about them completely by chance... they were supporting Slade at Chippenham GoldDiggers around 1982/3/4. Found a copy of "Circus Animals" in a local S/Hand shop & it's been a Desert Island Disc ever since. Cracking band. Great melodic songs, interesting arrangements. fine playing & stunning vocals. I keep meaning to have a go at tabbing out 'Bow River' and 'Hound Dog'... one day. Pete.

[quote name='Annoying Twit' post='923051' date='Aug 12 2010, 06:50 PM']Ta Jon. I don't remember seeing a [url="http://cgi.ebay.co.uk/Vintage-Greco-Japan-Violin-Bass-Greenburst-1960s-70s-/220653185877?pt=Guitar"]green violin bass[/url] before.[/quote] Never seen one in the flesh, but someone over on Talkbass had an Aria-branded one several years back. The only other thing I've seen in this colour was a glorious "SnotGlo" 'faker that I recall as having an Aria TRC. [i]That[/i] I'd give a home to any day of the week, except Wednesdays That twin-neck is a thing of awe as well.

[quote name='scottaylor' post='919155' date='Aug 8 2010, 11:30 PM']3 pick ups 2 to gether[/quote] If it's one of these it's Volume & Tone for each pickup. As you look down on it, I'd expect it to be: T (neck) T (bridge) V (neck) V (bridge) (So the Volumes would be nearest the pickups) But it might also be: V (bridge) T (bridge) V (neck) T (neck) (So the neck pickup controls would be nearest). Not sure I've ever seen one like this though. The two Volume controls will most likely interact, so that if one is turned all the way down you won't get any signal at all. Pete.

[quote name='witterth' post='919151' date='Aug 8 2010, 11:20 PM']"Well" (as Bill Hicks used to say..) " looks like we got ourselves a reader.... whut ya readin' fur?" Bill: "well,maybe so as I dont end up as a (insert good gag here................)[/quote] I won't go [i]that[/i] far just yet. I doubt I'm even at the 'Janet & John' stage (& I don't mean the video either ). The first thing I'm getting to grips with is the timing. [i]i.e.[/i] The Maths - Making a phrase that I can play almost without thinking fit neatly on the stave whilst sounding right to my ears. I (perhaps foolishly) thought that some of the Blues/R&B/R 'n' R standards would be a good way in for me. I love all that stuff & learn best when I have a practical application. What I didn't expect was (a) the level of respect for these guys that I'm developing, and (2) that doing this would impact on my playing. I now conciously step back a bit & try to keep things simple, whilst still adding enough variation to keep things interesting. I also didn't expect to find tabbing/transcribing Willie Dixon's part in Johnny B. Goode the uphill task it has become I also feel that there's a 'gap in the market' for this sort of stuff. Many players will assert that Blues is mostly "just" a I-IV-V with a bassline that goes R-3-5-6-8 with a chromatic link to the change, & I felt it'd be handy to have some moderately accurate takes on what really goes on down there. Greater accuracy will hopefully come of its own accord as I carry on. One day I may even understand the difference between A# & Bb, but it won't be today. Same with chords - for me to get a good handle on that I'd be best served by taking up a chordal instrument, but I doubt I'd get a C3 & a couple of Leslies up the stairs. P.

[quote name='velvetkevorkian' post='918778' date='Aug 8 2010, 02:56 PM']In this case I would probably go with 12/8, but the main issue for me is that neither is particularly clear- the triplets in the 4/4 version are hard to see and the dotted crotchets in the 12/8 version are hard to make out- I assume this is just a quirk of TuxGuitar's notation?[/quote] Quirks? You don't know the half of it! I spent a good half-hour in Illustrator "fixing" Tux's PDF. The note stems were 0.06pt (0.02mm) wide (the same as the stave lines), the stops were vestigial & it has a deeply unpleasant habit of losing the demi-tail on an 8th/16th combination. I also cut off the tab, as it wasn't relevant here. I'm stuck with the triplets though. I'll guess that its PDF conversion engine revolves around the open-source Ghostscript, & that GS and Adobe Acrobat don't see eye-to-eye. I'm assured that it'll print hard copy directly just fine however. And it's free. A workaround is to use an additional free application called Lilypond. That kind of goes the other way for me & tends towards clutter, though it makes a better fist of the triplets than Tux, shows the stops clearly and shifts the dot a little further away from the note head. It's capable of making a royal mess of text though. Here's the 4/4 version as per Liliypond: I do like the timing info it gives in the tab - it'll show dotted notes there as well. I'd like a bit of a combination of the two programs - Lily's 'formality' plus Tux's configurability would be very useful. Thanks to Doddy & Gonzo for the Rehearsal Part nomenclature tip. Pete.

[quote name='Vesalius' post='918724' date='Aug 8 2010, 01:32 PM']"How do you distinguish between 4/4 with triplets and 12/8 with dotted notes?" The two examples you gave would sound the same. You don't - all reading is just "processing" whatever you're looking at, and the clearer you can write it down, the easier (and so faster) the player "realise" it. <snip> What you wrote is fine, and you would get it from any ("reading") bass player - whichever version (4/4, 12/8) he read. ...It would sound the same.[/quote] Phew & Hurrah! I was hoping for that kind of answer tbh. For me the 12/8 version presents an inherently cleaner page, which must surely aid reading. [quote name='Vesalius' post='918724' date='Aug 8 2010, 01:32 PM']Finally, it seems to me that music written down is only an approximation of the original sound heard, for the benefit of others to play -(or hopefully to pay us- sometime!).[/quote] Agreed. One thing I have picked up on when transcribing this stuff is that notation isn't enough to translate the nuances that make a performance what it is. I reckon it would be possible to allow for these, but you'd end up with a "Black Page" plastered with dotted 64th rests & who knows what else. Swing drummers don't stick to the meter either - each bar subtly varies in length. (Anyone who doesn't believe this... open a tune in a sound editor & add cue lines for each bar. We can all count, so the cues should be pretty accurate, but you'll see what I mean). The Tempo instruction really ought to have ± x% after it. [quote name='Vesalius' post='918724' date='Aug 8 2010, 01:32 PM']One of the most recent changes when writing chord progressions is to Always use CAPITALS for Chords, and "lower case" for notes. So, a chord of A major with c# in the bass is written as A/c# not... A/C#. It's much easier to process and gets rid of some confusion. It also makes reading compound harmony much simpler and "safer" and is independent of the key. eg. BbMaj7/c[/quote] I understood most of the individual words in that paragraph... [quote name='Vesalius' post='918724' date='Aug 8 2010, 01:32 PM']Does this shed some light...or have I generated even more Heat? Cheers, V.[/quote] Definitely illuminating. Many thanks. All I'm aiming for is a pretty accurate representation of what got played, & the subtleties are down to the individual. Looks like I'm not making a Pig's Ear of it. FWIW I doubt Wendell Marshall had a score plunked in front of him on the day, maybe just a chord lead-sheet. He'd been with Jordan for a good while so would know what was needed. The Plumbing Dept. might have been scripted though. Here's a bad copy of a scan of a part of (allegedly) QJ's arrangement for the dreadful Stevie Wonder/Bono/Ray Charles version posted in one of my threads on Talkbass: I take it that the C in a square is another way of writing Common Time? Pete.

I've recently tabbed/transcribed the bass line to Louis Jordan's "Let The Good Times Roll" & assumed it was in 12/8 as it's a swinger. The way it all slotted in rather neatly seemed to confirm this. All good. However... It seems that this was originally arranged by Quincy Jones in 4/4, which is a bit of a bugger as that means I have to re-score the whole thing to correct it - attempts at auto-correction in TuxGuitar leave it a mess of tied notes & whatnot. Understandable, but still an arse. Heigh-ho, we learn etc. Anyway, I've done the deed on the first 12 bars & would appreciate some feedback from you reading types as to whether it looks acceptable or a dog's breakfast before pressing on with the rest of it. If the latter, please feel free to adjust it so I know for the future. Thus: If it's of any help I can convert it into Guitar Pro, Lilypond, Midi, or MusicXML formats. Next question. How do you distinguish between 4/4 with triplets and 12/8 with dotted notes? They both swing. Pete.

[quote]The body is maple with walnut top and is finished beautifully[/quote] [quote]Top quality elm body gives this guitar a really nice tone with plenty of sustain.[/quote] Which? Doesn't look very much like a maple body with a walnut top... & I was under the impression that Elm might not be the wisest choice for a body. Looks like Ash to me. P.