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  1. Just be the one who does the soundchecks.......
  2. paul_c2


    Was it originally built like that or is it a replacement bridge? It could be the bridge is narrower than the original, and instead of fitting it in the middle (which might have meant filling in all the screwholes etc) the screwholes on the G string side were used and the new ones drilled?
  3. https://en.wikipedia.org/wiki/Speakon_connector
  4. The other will be a "speakon" connector, AKA Neutrik connector. Its physically more robust, can handle a larger cable and is lockable in position so it doesn't get pulled out (which could be damaging to some amps).
  5. There are variations amongst amps, but normally: 1) send and return are instrument level. Line in and line out should be line level. 2) plugging something into send, should reroute 100% of the signal (so if nothing were plugged into the return, there would be no output from the amplifier). A line out should normally tap off the signal so that 100% still goes to the output of the amplifier. 3) a line in combines the signal with the instrument input. I am not sure what happens if you plug something into the return without anything plugged into the send but it certainly isn't blended with the instrument input. Obviously it depends on the amp, there's loads of variations and possibilities ie pre- or post- EQ, with/without effects loop, whether it mutes the amp's output if the line out is used (I don't think it should at all; but some amps do this). Also, line out is normally presented as a balanced signal, you'd hope male XLR but maybe 1/4" TRS.
  6. In fairness though, couldn't that be said about ANY bass? That it won't appeal to everyone, only a proportion, or even a minority, of players? But you don't need to sell it to 2000 (or however many there are) members of this forum, you only need one person to buy it. PS I'm the kind of person who'd be happy with a Squier P-bass.
  7. IMHO buying a Shure SM58 is like buying an IBM personal computer.....except they don't make PCs any more.
  8. Simple answer: yes. More involved answer: I don't know if its the correct term, but there is a thing I call "rootless voicing/chord substitution". For example, I, with my guitarist hat on, sees Cmaj7 on the chord chart and play Em. If you heard the guitar in isolation, it would sound like the tonal centre is E. But if my friend on the bass plays a big fat C, then it sounds like the tonal centre is C and that the flavour of chord is major 7. That's one example - you can see how it extends to 9th and 11th (and beyond if you want) chords quite easily. After all they are stacked 3rds. The other one is 6th chords. If guitarist sees (for example) C6, he can play a 7th chord of whatever the 6th is. The 6th of C is A and the chord will be Am7 (because that contains the right notes, and the same notes as C6).
  9. Indeed it is - I appreciate this aspect. Piano players cope okay. Because with 17 others playing at the same time, I don't want the guitarist to clash. One approach to this is to give very detailed information on all the non-functional harmony which is occurring. Another is to give precise details on the notes/rhythm to be played. There is no root either - the chord is D7 (no root or 5th) sliding up to Eb7 (no root or 5th). On a guitar, its actually quite easy/comfortable to play - your fingers play frets 5, 7, 8 on the G, B and E string respectively, then everything slides up one fret. (I know that some guitarists might prefer to play it 5 frets up too - I'm not bothered where they play it). I might look into writing out tab instead of/as well as standard notation for the guitar, and see if he's happier.
  10. Perhaps its also worth saying I also play guitar; however its my 3rd instrument (bass is my 1st) including playing in a similar band. The quality of guitar sheet music is very variable so often I'm coming up with variations of what's written. And to record these, it makes sense to use standard notation since its a 'learn once, use many times' investment to learn, roughly, how to read (rather than for example going down the tab route).
  11. I'm not sure they're fair points you've raised. For example, of course I've asked my guitarist, and I know how things work - but that's one guitarist, one band, one kind of music and one opinion. And of course it will vary with genre of music. In rock, you'd rarely see written out stuff, and the guitarist would get chords and be happy/expected to "fill in the gaps" - which is great, in a band with (say) 5 members but in a bigger band (excuse the pun) having more deliberation/precision of what everyone is playing at the same time becomes much more important. The suggestion to show the guitarist riffs etc is a good one however it obviously slows (slightly) the process. Imagine, showing everyone their parts one by one - there's 18 parts in a big band so that would consume vast quantities of time. And slow the rate of taking on new pieces. I think its fair to say that the more musicians involved, the more coordinated everything becomes. That's not to say there's isn't still scope, in an appropriate situation, for a musician to be able to put their own interpretation or bring useful/valid ideas to their part - not just solos but being able to invent something which fits in and does its job whilst still contributing and being artistic. So its really, just to get an overview of what others do in (vaguely) similar situations; and partly what, if any, 'standard' to aim at when preparing music for guitarists to play.
  12. I love that sketch! I am sure you all know the joke: "How do you get a guitarist to stop playing? Put some sheet music in front of him."
  13. Don't worry about that - I spotted it just after posting. Its originally in Bb, however I am rewriting it in a different key. I tried a few different ones, including F, then updated the title, but its subsequently changed to Eb. I think I'll get a lot of dirty looks from the sax players if I put it into E!!!
  14. PS I know about giving them (noteheads as) slashes and chords, but the above is more complicated to describe as a chord (D7 no root no fifth, Eb7 no root no 5th) than just giving the actual notes like everyone else in the band.
  15. I almost did this as a poll. How well can guitarists read? And if not, how on earth do you communicate (musical ideas) to them? For example, here is a little extract from something I'm working on. Its a repeating pattern. The whole piece, almost, is based on one chord, so there's not much variety, I think there's this little riff and two others for them to play. Would you expect a guitarist to "get" this in: A) about 4 seconds (ie, they can sight read so long as they look ahead a little) B) about 30 seconds (ie you could hand it to them, they could look at it then play it once prepared) C) about 1 week (you give it to them one week, they come back next week having prepared it) D) never
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