SpondonBassed

Aw, catch yer at the next 'un then.

Never mind, it's probably nothing.

[quote name='T-Bay' timestamp='1493825247' post='3291023'] Sadly I am out :-( Dad's taxi services taking priority on a Brownie day out. Will make the next one with any luck. [/quote] Make their day out a trip to the Bass Bash. Like take your daughters to work day only you're taking everyone else's too... Can't hurt to get them interested in the low frequencies early on now can it? Unless there's a stripper no-one's mentioned booking...?

[quote name='leftybassman392' timestamp='1493824350' post='3291008'] First off, I assume you mean 432 rather than 332. Tiny pedantic point. Secondly, in fact there is the same relationship - precisely the same in ratio terms - that's just how scales work. Sorry if that appears pedantic and dull but numbers are numbers, and that's just how they work in this situation. In all honesty I can't think what else you might mean, and I'm really not trying to be confrontational or picky. Perhaps an example: (procedural note: I'll use Just Intonation 'cos the numbers are easier to appreciate for non-mathematicians, but it works in exactly the same way with Equal Temperament) If you play A at 440Hz, and then play a perfect fifth above it you get an E at 660Hz. The ratio E:A is 660:440 = 3:2 If you play A at 432Hz, and then play a perfect fifth above it you get an E at 648Hz. The ratio E:A is 648:432 = 3:2 [/quote] Yes, my mistake, it should have been 432. I have always had this problem with numbers. No I don't think you're being pedantic but I do think you are overlooking something. Let's say for examples 1 and 2 in the clip we change the scale by lowering A by 8hz. If we do this by slowing down the clip as if it was an analogue recording the tempo changes ever so slightly too. All relationships are preserved. The total number of oscillations in a given bar would remain the same in the resulting examples. If we do this by changing the pitch of the notes but let the tempo and note durations remain the same as it seems they might be in the clip I'd say you get more oscillations per bar for an increase in pitch and less for a decrease. But I am just your average thicko. PS: I was assuming that you were describing the relationships in the example where the notes are in a tune but I think you might just be thinking of notes relative to each other but not actually being played.

[quote name='j1mu5' timestamp='1493634231' post='3289522'] I'm really hoping it will be a useful experience and have to agree it really is a terrifying prospect at the moment but will be good to meet new people. [/quote] I went to my first Bash last October with similar feelings. More so perhaps because it was a double bass bash and I don't play upright. I was curious and it was a great opportunity to meet some of the characters on here. I think you'll get something out of it, if only cake... See you there.

[quote name='DaveFry' timestamp='1493812214' post='3290827'] Autistic-pianist-learning-upright-bass here contributing : I also enjoy sound-to-colour synaesthesia , and I find the colours in 432 more saturated , although I don't expect anyone to believe that now . @ Leftybassman ; Ambient is not necessarily bound to equal temperament ; he plays solo 7-string fretless . [/quote] Sound-to-colour synaesthesia's something that fascinates me. I may have had a similar experience on drugs as a youth but for the most part I can't experience that sensory crossover myself. Do you enjoy it as a matter of course or does it become an inconvenience? I mean, I think I feel a slight difference in mood between 440 and 332 but I can only perceive it in a comparison. You say you can actually see a difference! I'd say that's a great talent to have.

[quote name='markstuk' timestamp='1493806246' post='3290753'] It's only sort of a standard anyway.. [url="https://en.m.wikipedia.org/wiki/Concert_pitch"]https://en.m.wikiped...i/Concert_pitch[/url] Apparently we need to tune to an oboe [/quote] Girlfriend's got an oboe... oh no (Even [i]I[/i] miss Mozzer sometimes)

[quote name='leftybassman392' timestamp='1493806145' post='3290750'] (My emphasis) I'm not entirely sure what you mean by the highlighted remark. [/quote] I'm sorry. I am not usually stuck for words but I find it hard to describe the notion. Think of it this way: Had the OP's clip got the same chap playing but instead of him doing it in two different tunings he just slowed the clip enough to get 332 from a 440 clip I would have little difficulty in accepting that the harmonic relationships are preserved as they are with key changes. If however the chappie plays exactly at the same tempo with different pitches, there isn't the same relationship. Can't happen in fact. I can accept that we humans can not perceive the difference but that is not to say that it does not exist. That's just how it strikes me. Maybe someone else can put it better than I.

[quote name='leftybassman392' timestamp='1493805069' post='3290735'] Not wishing to sound like a know-it-all, but in terms of harmonic relationships there's no difference between them. <snip> Nothing wrong with tuning to 432Hz of course - knock yourself out - but the accepted standard has for some time been 440Hz. In audio terms the difference in pitch is barely perceptible; how much of a difference this would make to the listening experience is debatable at best [/quote] In keeping with the debate; I haven't any information on whether there was a minute change in the tempo of the examples given that would be in proportion to the change in frequency of the notes played. Such a difference in tempo would have to be so small as to be virtually insignificant to the human ear yet it must exist. Whether a human musician could actually be that accurate is also debatable. If however the tempo for each example remains constant it would follow that note durations would also be constant. If the only variable is the note frequency, would that not have an effect perceptible or otherwise on an unchanged frame imposed by tempo?

That was interesting, thank you. I'd say the 332 examples felt subdued, not quite gloomy but tending that way, in comparison with the 440 examples. Those made me feel more "on it" and upbeat somehow. To say that they sounded brighter stands to reason I suppose. I don't really know if I'd feel the same way about the examples heard in isolation. It might be worth listening to one group (either of 332 or 440 examples) later but played back by a friend who doesn't let on which. I'd love to see if I can then tell which is which just for a laff. Interestingly, my listening companion said he thought the 440 examples were "mellower". I thought the 332 examples were mellower so it's a subjective thing. Confirms what we already know about music; It's in the ear of the beholder.

The Oldfield Branson relationship seems to have worked well enough in the final sum of things. I mean, if Tubular Bells wasn't experimental in its day what [i]was[/i]? Maybe you should to talk to a teen entrepreneur. I am not entirely serious of course but there is precedent.

[quote name='xgsjx' timestamp='1493586018' post='3289304'] You should make a complaint and demand a refund for the postage costs as they failed to deliver. [/quote] I did that when my Tax Return documents got shoved through without a knock. The envelope was torn so that the contents were visible. It had a "Signed For" sticker. I suffered about 40 minutes of telephone hell with the Royal Mail before I got to the relevant person. They offered nothing other than to take note. I rang HMRC and again suffered over half an hour of automated telephone annoyance. I told the HMRC rep that they were paying for a service that, in this instance, was not carried through as per the terms. In other words the item was not signed for. No attempt had been made to ask for a signature either. I know because I was there at the time. HMRC didn't seem all that bothered! Nearly an hour and a half to make a simple complaint by telephone is [u]not[/u] acceptable. Having tried it once, I wouldn't waste my time with them again on someone else's behalf. Crikey, even if I had paid for the "Signed For" sticker myself and later found it had been ignored, I'd think twice about complaining. Life is too short as it is without wasting it on paper pushers. I agree though. You should complain.

[quote name='fleabag' timestamp='1493585447' post='3289292'] The one thing missing is sometimes they dont ring. I've been home waiting for deliveries , ( yes plural cos it's happened more than once ) and wondered where they got to, only to think the postie never turned up Next day, check letterbox ( i live in a block so make a once a day visit to the ground floor ) and find they simply stuck a card and in and hot footed it [/quote] This is precisely the nub of this topic. There was no audible ring or knock.

[quote name='Jus Lukin' timestamp='1493542594' post='3288962'] Well that's a pain! I've been waiting on some strings from Status to get my new bass ready for gigging. Yesterday the postman leaves a card on the mat when I was in, on a bank holiday weekend no less, so I can't get the package til Tuesday. If he'd rung the bell I could probably have had the bass ready by then, instead I'll have to go down to the depot before I can even get it to my guy for a setup. Cheeky, lazy buggers. [/quote] I sympathise. I have noted that the posties here do not ask for a signature for "Signed For" labelled packages that they deliver here at our domestic address. They neglect this duty as a rule and I have given up telling the sender to ask for their "Signed For" fees back! I can't complain to the Royal Mail because of their intolerable chicanery when you try to reach someone in their organisation. If it ain't on an automated telephone handling system, they simply don't want to know. I can't get on with those very well because of the Tinnitus. After five minutes of repeated promises that "We are really interested in your call" I am almost incapable of hearing a true human voice when the line gets answered, typically, a half hour later. It then takes another good half hour for the noise in my head to subside. It was not my intention to hijack your topic with my personal problems in trying to make a complaint however. I think time constraints make a lot of posties take the short cut of assuming that the resident is out at work before they deliver. They then, perhaps, push the card (already filled in) through the letterbox without knocking. Every time a postie knocks, he/she has to wait a reasonable time for an answer. Whether they get an answer or not each door knock adds time to their route. I can easily see how some would skip door knocking altogether. One question though... Have you got an intimidating dog? I just ask in case fear of dog attack might be responsible.

Have you asked Quincy Jones or Nile Rodgers yet? That's a very good question. Also, is there a way of "testing the water" with a new producer before agreeing to terms?

Cool. It looks like a stealth weapon. Great to hear it's out earning for you.

[quote name='RhysP' timestamp='1493725179' post='3290118'] So you interpret his remarks differently from me (and possibly some others on here too). I regard his constant belittling of bedroom players, start up bands & anything else that doesn't fit with his myopic mindset as little more than trolling. [/quote] If that's how you see it then yes, most definitely. If that behaviour, perceived or otherwise, offends you why not do the mature thing and pass by his posts? You don't get offended and Blue's topic suffers less disruption. Win-win. Other suggestions are available. Have a nice day. PS; I [i]am[/i] pretty much a bedroom player myself. I can laugh at it too because I know that [u]we[/u] are the future. Heeheehee

[quote name='Yank' timestamp='1493716038' post='3290040'] I use floating thumb, and mostly index and middle. However, sometimes my ring feels left out and joins in the fun without my conscious knowledge or consent. [/quote] [attachment=244470:FinbarrSaunders.png]

[quote name='KingPrawn' timestamp='1493670499' post='3289893'] For many many years I've been using my index, middle and ring finger to play. Often its my index and ring finger. Initially i moved to this as a kid because Billy Sheehan had that shred thing going on. As time went on i realised my index and ring finger are the same length so my playing style was much straighter/flatter than my index and middle finger, which as my middle finger is about 10mm longer, meant i had to place my hand at quite an angle to play consistently with my index and middle finger. Ive found that using index and ring finger means my middle finger is free and poised to move to the next string really quickly. Any one else experienced this or uses this technique? ( please someone say yes or ill have to leave BS) [/quote] (No. Please leave your B[u]S[/u] in a plain brown paper bag on the doorstep of B[u]C[/u], light it, ring the bell and run away.) Yes. It makes good mechanical sense to take advantage of your own natural dimensions. Two main advantages are comfort and efficiency. Both of these things help your sound.

[quote name='RhysP' timestamp='1493464149' post='3288531'] ...All it seems you want to do is bitch & sneer at people who aren't exactly like you. [/quote] I have [u]never[/u] seen this sort of behaviour from Blue. However, I think it helps to keep in mind how different his culture is from ours when reading his posts.

[quote name='blue' timestamp='1493429738' post='3288296'] Completely different than when I started. You turned on the TV ,you saw tons of bands people playing rock and roll and you wanted to get in on it. You wanted to learn and most important you wanted to gig. Now you rarely see bands on TV and many millinials are perfectly happy jamming with friends or staying in the bedroom and in some cases for good reason. In someways I think the new players are smarter and more advanced technically than my generation. But keep in mind the opportunities for good live gigs have dried up for most. Used to be, if you wanted, you could gig 7 nights a week. I'm not sure if they're having much fun, but maybe fun has changed too. And these videos with guys playing the bass like a guitar that's a little different for me as well. Things have to change I guess.Me I'm staying with the joy of live gigging and the old 4 string world. I only have 10 years before I throw in the towel. Comments or thoughts on the new direction of bass. Blue [/quote] At 54, I understand your thinking. It's not even like it was in [i]my[/i] twenties. It's hard to see where I'd fit in if I'm honest. No longer can I drop in and out of sessions like I did then. I only do it for a hobby though not for a living. It is a rare privilege for me to play to an audience at all these days. Never the less, as a hobby, it occupies enough of my time to keep me out of (serious) trouble. Like you say, current players tend to be better educated and technically more savvy. If I was doing it all again I'd make better use of my youthful eyesight and learn to sight read.

[quote name='Jenny_Innie' timestamp='1493627368' post='3289441'] Musicians performing live on TV is good. [/quote] Yes. Although the Late Show doesn't go for the minimalist approach of TOGWT it does at least allow viewers to see music actually being played. Maybe air guitarists don't like it but so what?

[quote name='timhiggins' timestamp='1492706532' post='3282606'] I do the loosening and snapping thing too and it actually works ! not for very long but it does work ,for some reason each time you do it the E string [u]zing duration[/u] shortens at which point I give in and buy new strings [/quote] Zing Duration eh? I'll have that as the name of my next band ta. That or Zing and the Durations.

[quote name='lowdown' timestamp='1492682308' post='3282228'] Bert, was cool and a lovely guy (he was much loved in the music business). I did quite a few gigs and shows with him over the years. Not exactly a taxing Bass gig, but enjoyable, non the less. (And i got I signed copy of his book)..... [/quote] I'm sure he was. I wouldn't want to suggest otherwise but we didn't have the choice of learning resources that there are today. Bert was about the extent of it where I lived at that time. My dad was unsympathetic. He absolutely refused to start me off with an electric guitar because I had to prove my ability on an acoustic first. He might have had a point but the acoustic I got was horrible. Made for nylon strings but strung with cheap steel ones it was a right old cheese grater. Between Dad's classic tendencies (he dabbled with piano but only ever to himself) and Bert's "Bobbie Shafto" or whatever it was, I had little inspiration other than admiring the fake performances that were on TOTP. I am clearly traumatised by the whole experience and am better off putting it behind me. Long live YT, vlogging musicians and isolated tracks. That's what really brought me back into learning for fun in my fifties.

[quote name='uk_lefty' timestamp='1492681148' post='3282207'] I use an alcohol based string cleaner after each gig or rehearsal where the strings can be sticky with sweat then dry with a microfiber cloth. Hair product also gets in there too and make the strings feel sticky. I use fast fret before playing to make sure the strings don't feel rough. I do this for both flat and round wounds. I don't take the strings off to clean them, never really had the need. I have been told recently by a luthier they don't go back up to correct tension when back on the bass... Sure lots of people do this anyway... [/quote] That's interesting. You actually put stuff on the strings and so guarantee your strings are cleaned each session. I'd heard briefly about Fast Fret but passed over it. Is it like silicon polish or summat? I wont ask about the hair product I but can imagine how it could easily happen in some scenarios.