Bloodaxe

[quote name='skankdelvar' timestamp='1396457617' post='2413931']Next time I'm in a blues outfit I shall bellow 'Flat tire shuffle, quick change, in from the five' and watch a few heads melt.[color=#ffffff].[/color] [/quote] Don't forget to add "It's in Bb" as well, with any luck the guitarist's head will explode. Whilst checking the links still worked, I was reminded of post 26 on page 1 which pointed out that the OP seemed a little repetitive in that swung-up take on Red House. Some time ago I transcribed Keith Ferguson's masterclass bassline in 'Extra Jimmies' where he barely plays the same thing [i]once[/i] . Dots 'n' tab:— [url="https://dl.dropboxusercontent.com/u/8453031/Extra%20Jimmies.pdf"]https://dl.dropboxus...a%20Jimmies.pdf[/url] I know I'll get stick from the proper musicians for setting it in 6/8 rather than 4/4 with a swing feel, but it made transcribing it a lot easier for a notation numpty like me. One of these days I'll get around to finishing Willie Dixon's part in Johnny B Goode - now [i]that's[/i] a bassline & a half. Another bit of mastery is this little effort involving Neils-Henning Ørsted Pedersen & some other blokes: [media]http://www.youtube.com/watch?v=3drqJ1bUmEA[/media] P.

[quote name='skankdelvar' timestamp='1396381445' post='2413010'] Inform, you did. Y'know, I've never done one of these blues jam things. I'd probably have understood 'Quick change' but 'In from the five' would have left me cacking. A brief glossary explaining stuff that people suddenly shout out a pico-second before the count-in would be dead handy. I've had a lengthy Google and can't seem to find anything. Any pointers, anyone? [/quote] Here's a list I culled from a few threads over on Talkbass:— [b]Rhumba:[/b] [url="http://www.youtube.com/watch?v=QNsLyQGSqIg"]Crosscut Saw[/url], [url="http://www.youtube.com/watch?v=-2eFJo5IIZ0"]Don’t You Lie To Me[/url] [b]Texas Shuffle:[/b] [url="http://www.youtube.com/watch?v=mnCW2niiJBE"]Texas Strut[/url], [url="http://www.youtube.com/watch?v=0vo23H9J8o8"]Pride 'n' Joy[/url] [b]Clave:[/b] [url="http://www.youtube.com/watch?v=IMZjAOoX6nw"]Bo Diddley[/url] [b]Ice Cream Changes:[/b] [url="http://www.youtube.com/watch?v=kNco-e2CXuo"]You Send Me[/url] [b]Downtown Shuffle:[/b] [url="http://www.youtube.com/watch?v=S4SPbRmWROs"]Linda Lu[/url] [b]Uptown Shuffle:[/b] [url="http://www.youtube.com/watch?v=U-bW-g0JFCM"]Little By Little[/url] [b]Swing Shuffle:[/b] [url="http://www.youtube.com/watch?v=XPIQcFRWpNw"]Extra Jimmies[/url] [b]Flat Tire Shuffle:[/b] [url="http://www.youtube.com/watch?v=WSZuwTZaTjk"]Everyday I have the Blues[/url] [b]In from the V:[/b] [url="http://www.youtube.com/watch?v=M-qtmZHofMc"]Built For Comfort[/url], [url="http://www.youtube.com/watch?v=lIE6wXObQaQ"]You Ain't Nothin' But Fine[/url] [b]Boogie:[/b] [url="http://www.youtube.com/watch?v=iwt15IwwTdw"]Boom Boom[/url], [url="http://www.youtube.com/watch?v=Vppbdf-qtGU"]La Grange[/url] [b]Quick Change:[/b] [url="http://www.youtube.com/watch?v=S5unZ3BTqck"]Sweet Home Chicago[/url] [b]II-V-I:[/b] [url="http://www.youtube.com/watch?v=of7eH3DJFVw"]When My Baby She Left Me[/url] - (Intro & solos), [url="http://www.youtube.com/watch?v=jjBuF8wQr_E"]Lovin' Machine[/url] P.

I went to the Pelton Arms jam yesterday & can thoroughly recommend it. The 'rules' seem to be... No sign-in sheet, just introduce yourself to either Dennis or the other guitarist (can't remember his name - wears glasses) & be patient. Run time is more like 6pm to 9pm with a break, but if you get there much after 5:30 your chance of grabbing a seat is virtually nil as the pub was packed. Interesting range of real ales (including a Porter) at £3.50 a pint. If you're partial to a mollusc, they were selling oysters in the beer garden. I believe crustaceans were available too. House bassist is called Malcolm - 70s Jazz through an Ampeg head & 2 x 10 (killer little rig). He's OK about adjusting levels (very necessary with an SB ) & EQ on his amp, but I noticed that he seemed to forget to reset to his levels afterwards which meant he was a bit low in the mix. Great player, kept it on a tight rein but obviously capable of stretching out when needed. Sit in the pocket. No flash stuff (to start anyway). Dennis was most complimentary about this tactic, but I have given him fair warning Brush up on your nomenclature (if needed). Terms like "in from the Five" and "Quick Change" were bandied about with alacrity. Tunes... Mostly what you'd expect, but there were a few left-field moments - brushing up on a bit of Motown probably wouldn't hurt. I got 'Work Together', 'You Ain't Nothin But Fine' and 'Nadine'. YANBF has a twist in the chorus in that it 'pulls' & falls a note short - get it wrong & you're mullered (Same goes for Nadine if you're expecting it to be a straight I-IV-V): [media]http://www.youtube.com/watch?v=lIE6wXObQaQ[/media] A couple of others that got called were 'Heatwave' (Martha Reeves & the Vandellas) and 'How Sweet It Is' (James Taylor) - I turned down the latter as I saw a train wreck in the offing. Not sure if there's a Hendrix faction, but 'Hey Joe' made an appearance. All the Kings were represented too - 'Born Under A Bad Sign', 'Hideaway' and 'Everyday I Have The Blues'. [media]http://www.youtube.com/watch?v=MjPLDxe6sZQ[/media] So... I got to back Dennis Greaves, Mark Feltham [i]and[/i] Glenn Tillbrook - woot! Next one (April 27th) is marked in the diary. I also reckon I have a bit of homework to do. Pete.

In the short to medium term, seek out any local jam/open mic nights in your area & network a bit. That'll keep you on your toes & get your name about a bit. From your list 2 &/or 3 get my vote. Option 3 is the least hassle... unless you sing & know a good drummer in which case 2 is a good move as you'd just need to add a guitarist.. 1 will serve little purpose other than to make you feel slightly better in the very short term, and open the gates to relentless GAS. Unless you're in the dire position that you need to sell your gear to keep body & soul together, option 4 will just see the proceeds get frittered away on mundanities such as Rent, Council Tax, Power, Food etc. Worth bearing in mind for the future that bands featuring relatives or couples seem to attract drama. Just my 2p, YMMV etc.

[quote name='wotsy' timestamp='1395539453' post='2403562'] [url="http://www.preloved.co.uk/adverts/show/110364506/aria-pro-bass-guitar.html"]http://www.preloved....ass-guitar.html[/url] Apparently a 70's Aria pro for £65 ovno I don't know much about these but surely this is a bargain? [/quote] Definitely not 70s, more 90s, but still cheap at the price. Possibly an [url=http://s227.photobucket.com/user/vintagejapanbass/media/Aria%20Pro%20Catalogs/1991%20Catalog/1991integra.jpg.html?sort=6&o=22]IGB-550[/url]. P.

Shameless repost of Chas Hodges tearing it up: http://www.youtube.com/watch?v=_URuSSCBL9g

Which end is the truss rod nut? If it's at the heel, it's unlikely that you'll get away with carving that much off. Nearly 1/2 an inch is a quite a lot to lose anyway, would it be better/easier to lengthen the neck pocket? P.

Bit of Greg Lake: [media]http://www.youtube.com/watch?v=G7_XkndCwQc[/media] Can't really hear the plec in the mix, but in this it leaps out:— [media]http://www.youtube.com/watch?v=99T0nXhRDoU[/media]

[quote name='Annoying Twit' timestamp='1394975806' post='2397220'] With an Alder body...[/quote] That ain't Alder, looks like Oak to me. An unusual choice, but handy for keeping any ocean liners you may have knocking about from blowing away.

not quite, but as near as... http://www.youtube.com/watch?v=aUpQyNo8ALw http://www.youtube.com/watch?v=DohRa9lsx0Q

[quote name='iconic' timestamp='1392627636' post='2370657'] erm, err, so this body wood influence on the tone thing that many feel they can hear, I can't understand how it can influence the frequency of the AC current derived by a magnetic field, but want to understand. ...could it simply be because given two pieces of different woods, the string is oscillating differently due to how solidly the bridge and neck is nailed on to the body wood...stiffer or slacker? I mean there are no moving parts in the pup per se, the only part that can shift about is the string and its only tethered at two ends, the neck being the weakest part, its easy to bend the neck...maybe the security of the neck is more important to the tone? [/quote] I reckon you're nearly there... To paraphrase Woodinblack's & Razze06's posts: An open string vibrates between the nut & the bridge (there may be a tiny amount of vibration betwixt nut & tuners and bridge & tailpiece, but it's pretty safe to ignore that). [i]Some[/i] of that vibration is also transmitted to the body & neck, which resonate in sympathy. This sympathetic resonance feeds back into the string and affects its harmonic content. How much it affects it is a combination of species, density, construction (through, set, or bolt), and how much contact the nut & bridge have with the woodwork. As a result, different woods could/can subtly affect the way a note sounds. The issue I have with the whole 'tonewood' schtick is that I have trouble believing that it's really perceptible in a real world situation. If you're a soloist playing lots of whole notes to a quiet & appreciative gathering, then maybe it's possible to detect a difference. Be honest though, how often do you play a breve, let alone a semibreve? We're more likely to be playing quarters and eighths by braille in the back bar of the Dog & Duck. At a tempo of 120bpm an eighth note lasts 1/4 of a second — is that long enough for the Tonewood Feedback Loop to have a tangible effect? I'd argue that it isn't, and that it's the pickups & strings that primarily define tone. Thus Tonewood = Toshwood (IMO). P.

[quote name='muttley' timestamp='1392632750' post='2370749'] Sorry to be a pedant, but it's [i]impedance[/i] that rises with frequency in an inductor. Electrical resistance is only defined for direct current (ie zero Hz). Therefore the total (modulus of) impedance of a coil will be sqrt(R[sup]2[/sup]+[2(pi)f][sup]2[/sup]) where R is the [i]resistive[/i] component and 2(pi)f the [i]reactive[/i] component at frequency f Hz. It's these reactive elements (of inductors and capacitors) that give circuits their frequency-dependent characteristics, most notably electrical resonance. If everything was purely resistive, the frequency response would be flat from DC to light. [/quote] True... but, in my defence m'lud the [url=http://www.oxforddictionaries.com/definition/english/impedance]OED definition[/url] seems to hinge on the 'r' word... If I'd put your strict definition in, I fear the nice Mr Iconic's head would have done this:— http://www.youtube.com/watch?v=pjnZO5ZgWE8 & I didn't want any more needless deaths on my conscience.

[quote name='iconic' timestamp='1392566166' post='2370071'] I could of worded my question better....my question is how the different sound frequencies are related to the electricity derived by the pick-up...I've re-read that it is still clear as mud! [/quote] The vibrating string disrupts the magnetic field of the pickup, & this disruption induces a current into the coil of the pickup that is of the same frequency (or frequencies) as that produced by the string. The amplitude (height/volume) is determined by how strongly the string is vibrating. This induced signal is sent to the amp which makes it all biggerer. The amount of bigness is normally limited by the guitarist complaining that he can hear the bass. Different pickups have different tonalities. Put very simply, this is because of Physics. Put slightly less simply, it's down to differences in design/manufacture (magnet strength, number of turns, wire thickness) which affect how much of the string's frequencies get sent down the line - sort of like a preset EQ. Put more complicatedly... A straight bit of wire has a fixed resistance over its length no matter what signal you put through it - DC, AC, doesn't matter. However a [i]coil[/i] of wire has a resistance that varies according to what frequency is passing through it. Add in the capacitance caused by the insulation on the wire, and the fact that some pickups are wound in a rather random pattern & you end up with a quite complex frequency-dependant resistor. As a result none of them will truly reproduce all the frequencies that the string is generating. That's why some pickups have a mid-hump, some sound like a bucket of mud & some are fairly well balanced. P.

Not sure about 'underrated', but a few that generally fall off the radar... Jim Dewar [media]http://www.youtube.com/watch?v=59Yp7lvzv4M[/media] and Gerry McAvoy [media]http://www.youtube.com/watch?v=hSe5v7mJMiY[/media] &, of course, The Hodge: [media]http://www.youtube.com/watch?v=MblGNQnIpFY[/media]

Here's a (by no means complete) list of Blues Terminology that I nailed together from various jams & threads on TB, with illustrative examples... [b]Rhumba:—[/b] [url="http://www.youtube.com/watch?v=QNsLyQGSqIg"]Crosscut Saw[/url] [url="http://www.youtube.com/watch?v=-2eFJo5IIZ0"]Don’t You Lie To Me[/url] [b]Texas Shuffle:—[/b] [url="http://www.youtube.com/watch?v=Vppbdf-qtGU"]La Grange[/url] [url="http://www.youtube.com/watch?v=mnCW2niiJBE"]Texas Strut[/url] [b]Clave:—[/b] [url="http://www.youtube.com/watch?v=IMZjAOoX6nw"]Bo Diddley[/url] [b]Ice Cream Changes:—[/b] [url="http://www.youtube.com/watch?v=kNco-e2CXuo"]You Send Me[/url] [b]Downtown Shuffle:—[/b] [url="http://www.youtube.com/watch?v=S4SPbRmWROs"]Linda Lu[/url] [b]Uptown Shuffle:—[/b] [url="http://www.youtube.com/watch?v=U-bW-g0JFCM"]Little By Little[/url] [b]Swing Shuffle:—[/b] [url="http://www.youtube.com/watch?v=XPIQcFRWpNw"]Extra Jimmies[/url] [b]Flat Tire Shuffle:—[/b] [url="http://www.youtube.com/watch?v=WSZuwTZaTjk"]Everyday I have the Blues[/url] [b]In from the V:—[/b] [url="http://www.youtube.com/watch?v=M-qtmZHofMc"]Built For Comfort[/url] (Also, Red House) [b]Boogie:—[/b] [url="http://www.youtube.com/watch?v=iwt15IwwTdw"]Boom Boom[/url] [b]Quick Change:—[/b] [url="http://www.youtube.com/watch?v=S5unZ3BTqck"]Sweet Home Chicago[/url] [b]II-V-I Turnaround:—[/b] [url="http://www.youtube.com/watch?v=of7eH3DJFVw"]When My Baby She Left Me[/url] Also widely used by [url="http://www.youtube.com/watch?v=xe8R_l3VFAg"]Wynonie Harris[/url] & [url="http://www.youtube.com/watch?v=RBi4UMHYPXw"]Big Joe Turner[/url] [b]Slam The Gates:—[/b] [url="http://www.youtube.com/watch?v=EjhsLblrctI"]Done Somebody Wrong[/url] The sudden stops are the gates in question. Additions/corrections welcome. For a fairly random selection of Blues & R'n'B stuff, have a look at the Coach & Horses Blues Jam website here: [url="http://www.coachandhorsesbluesjam.com/home.shtml"]http://www.coachandh....com/home.shtml[/url] Nose around under the 'Things That We Used To Do' tab. Sound quality isn't brilliant, but may serve the purpose. Pete.

I always assumed that this was the original: [media]http://www.youtube.com/watch?v=KMxyE9nuXy4[/media] But apparently not. As luck would have it, I do have what seems a pretty accurate script for the Erma Franklin version - dots only though. [url="https://dl.dropboxusercontent.com/u/8453031/Piece%20Of%20My%20Heart%20-%20Erma%20Franklin.pdf"]https://dl.dropboxus...%20Franklin.pdf[/url] Pete.

As mentioned above, the 'twist' an optional illusion caused by the fanned frets. However, there is a design with a full-on twist made by these guys: [url="http://littleguitarworks.com/torzal-natural-twist/"]http://littleguitarw...-natural-twist/[/url] Ed Friedland gives the Torzal Twist a review here: [media]http://www.youtube.com/watch?v=tLi8pOa6zYk[/media] P.

[quote name='flyfisher' timestamp='1386527728' post='2301100'] One thing that has always intruigued me about music is the chicken-egg thing. All this pentatonic, mixolydian, major minor stuff pretty much goes over my head, yet I can play a blues jam pretty well just from what I've learned by hearing over the years. Presumably it was (playing) music that came first rather than someone sitting down and 'inventing' musical theory from scratch? So is all musical theory just a way of wrting down and explaining what already sounds good to our ears? After all, there are countless examples of great music created by people with little or no musical theory, so why it it generally treated as essential for any 'serious' musician?[/quote] IMO the 'essential' aspect of theory is that it permits [i]very[/i] rapid & efficient transmission of ideas. If you were doing a show dep gig or session work f'rinstance, then a lack of theoretical knowledge would likely result in your 'phone never ringing again. For originals/covers/pub jams etc. then it's less of a necessity. As to your other points, it rather looks as though we're hard-wired to some extent:— [media]http://www.youtube.com/watch?v=ne6tB2KiZuk[/media] P.

[quote name='Annoying Twit' timestamp='1386522477' post='2300999'] http://www.ebay.co.uk/itm/Aria-Pro-11-Bass-Guitar-/221333156069?pt=UK_Musical_Instruments_Guitars_CV&hash=item33887bf0e5 I'm trying to revise my SBs. Neck through, passive. SB700? [/quote] Spot on. 1979 & still has its original knobs. Interesting to see how it fares.

**Might** be Nato (or Nyatoh). My Aria TSB-400 is, according to the catalogue, made out of it & where it's been exposed by buckle rash looks similar to yours. More info & this pic here: [url="http://www.wood-database.com/lumber-identification/hardwoods/nyatoh/"]http://www.wood-data...rdwoods/nyatoh/[/url] Mine's more of a sandy brown though, kind of like Iroko, which can also have a quite coarse and open interlocked grain & long pores. As the name seems to be local vernacular for a multitude of different species & sub-species, I'd expect a lot of variations in colour & grain. I've also heard it called 'Indonesian Mahogany'. Weighs a ton, handy if you have any old ocean liners that might blow away in a light hurricane. P.

Might be able to do something on the print/production side once you have a design sorted. We're very busy (in fact we're [u]too[/u] busy) at work right now, but that's likely to calm down in a couple of weeks or so. Drop me a PM once you're in a position to print & I'll see what we can do - we're based near Tower Bridge Road though. Pete.