Hellzero

No, in the attic...

1912. 😉 Interesting, but not as "fixed" and "basic" as the Boléro and more Purcell in the approach. That said, Gustav HOLST was a genius indeed.

I'll leave it to you, don't worry, it's too small for me.

Thanks for taking words out of context, as usual. If I count, it's missing 293 bars, but it's not the point, even if I could play your game. It's a first in music history, because of the whole and not only one aspect. Maybe I should have written this instead to be clearer : In fact, in music history, it's the first time a symphonic movement is composed this way and based on a fixed repetitive rhythmic pattern at a slow tempo, with voluntary simplified orchestration, leading to a unique piece of hypnotic ballet. You know what ? I persist in saying that most of the members can't read. Yes, I'm fed up. So long and thanks for all the fish.

Repetitive and simple beat yes, but not fixed, and lacking a melody, which is a modern invention. The repetitive beat is meant to help you to enter into a transe, which is still working today. I fell asleep (literally hypnotised) during an MRIn long session without headphones (the technician couldn't find them and it was a late night emergency), only because of the repetitive (very noisy) rhythmic pattern. By the way, did you notice that the bass is only playing two notes : a root and a fifth ?

A great recent recording without the usual noisy audience at a tiny bit slower tempo as suggested by the composer himself at the time. The exact same rhythmic pattern repeated 169 times (wisely and suddenly "forgotten" for the end climax), one melody with two themes and only one very late key change (more a modulation) : the result is just perfect. The original title was Obsession of a Rhythm. It says all and everything. And to answer @Stub Mandrel question : who and when invented the idea of a consistently repetitive (underlying) rhythm ? It's Maurice RAVEL in 1928. In fact, in music history, it's a first. Can you do better ?

Can't wait for the first photos...

For those accountants without imagination, here is an answer : +1...

+1 🤣

As it's show off time 😎 , here are the sixers I'm playing these days. The least used first as it's fretted, a Leduc Masterpiece MP 624 : My long time companion, a Leduc Masterpiece MP 628 SF (130 years old Brazilian rosewood fingerboard) : The new every day companion, a Le Fay Remington Steele 6 RHT CC CAP Big Block (stainless steel fingerboard) : And the unique, one and only EUB Leduc U-Contrebasse 6 Moaï :

John East is advising use of copper for shielding instead of carbon paint, simply because copper is way more conductive and there won't be any break in conductivity to the ground just like it happens too often with graphite paint. Put your multimeter to the conductivity function and check the real resistivity, you'll be surprised by the difference in readings between copper shielding and graphite (or even copper) paint. You can also check Alps for conductive plastic trace pots, but they will be more expensive.

@Raymondo Maybe we should invite him for a factory tour in Belgium ?

!

*Pedantic extremely pedant alert* You should write it this way as it's French : à propos. So in two words and followed by "of" in English or, better, "de" in French. *Fin de la pedantic extremely pedant alert*

I've made my homework this afternoon and the only bass where the OC-5 tracks down to the low B (0) is my Le Fay Remington Steele. With the others (except the EUB 6, as expected), it can track down the low B, but has a tendency to glitch below the D on longer sustained notes as noted by @Al Krow, but strangely not on the E string. That said, as it's glitch-bubbling like an OC-2, that's great. And I love the Poly mode too as I can almost emulate an old Hammond B3. It's just missing the background noise and Leslie, but it's great sounding for some Indian music à la Trilok Gurtu with Jonas Hellborg. I'm glad that you like it too @Kev, and as you noticed it's a terrific OC-2 on its own, with way better tracking. It's also on my (small) pedalboard.

And what about inventive walking bass lines of bebop players. Don't you think they deserve a lot more than worshipping, then ? Great is overused for some more than common "things". For exemple, Juan Miró was great, but not for his art (that was bland), only because he could explain what he was doing and turning it into a very lucrative vision of art. But he was not a great artist (refer to André Breton's opinion about him), only a great business man with a clear vision of how stupid people can be (fooled). He even invented a name for his lack of art : regressive art. For that, he was great, even a genius.

Indeed, ... when it's there and not the same old one.

You would be amazed by the amount of punters when Magma is playing somewhere. Most of the time it's even sold out. Some people can recognise art when it's there.

Thanks Douglas, now we are talking Music with a capital M ! And twice. 🤗

And flat wounds on the Precision @Silvia Bluejay... That said why not worshipping someone playing the same thing for 30 years and more with just different names... Could be a reason. 😎

Let's put some coins in the juke box : 6 strings basses are like tonewoods, you have to understand the principles behind them, otherwise you'll start again and again the same diatribe. You know that my sixers have absolutely no neck diving, are more ergonomic and weight less than most of the standard four's I had... And I had a lot. If you are comfortable with an instrument, why would you change for something conventional and politically correct, except for the taste of the others ? That's why I play (fretless) sixers, because I'm so accustomed to them and it's MY sound. I have some 4 and 5 strings basses, but almost never play them. Check the ads soon... Be yourself !

Oops, glued to the metal fingerboard again.