Ceebass

Apologies in advance; I don't have any knowledge of the licensing situation. Great cover though man, the arrangement is super nice!

1 hour ago, GerdO said:

says only that the chord symbol C7(b5) defines 4 notes, wich is nothing unusual. All 4 tone chords define 4 tones. All 6 tone chords (like C7(#11) define 6 tones.

I think, possibly, I should have put more of the quote in: it tries to explain why you would need to use a 7b5 chord symbol, rather than 7#11/b9/#9 etc. (all of which could contain 1/3/b5/7). If you specifically wanted the voicing to contain C E Gb Bb with no upper extensions or alterations, C7b5  would be one way of writing it. 

I would argue that chords do imply scales, particularly those with multiple extensions. Surely this is one of the main principles of chord/scale theory? @GerdO you are right that tonal context & taste are also equally, but if you play a C7b13#9 chord, a C altered tonality is implied, as this is the scale from which those notes are drawn. 

It's nice to do a but of thinking on a Sunday (in between looking after my kids!) Thanks dudes 👍

I like this! I guess the problem is the chord symbol doesn't definitively imply (?) one particular scale (I think I'm just saying what you said, again ). 

I found this on jazz-guitar-licks.com (best/worst domain name ever):

"Dominant 7b5 chords imply only 4 notes, unlike 7#11 chords (which) are made up of 6 notes... the ninth and the perfect fifth will be omitted"

It seems that it's generally thought the correct chord/scale relationship is 7b5=altered, but the chord is sometimes (wrongly?) used interchangeably with 7#11 and 7+. So... back to the start?

Yeah, you're right about the whole-tone thing. I was trying to think of examples of scales where the naturally occurring 5th degree is flattened...

I might have to go and do some reading!

In terms of chord/scale relationships, C7#11 would usually imply a Lydian dominant scale: C D E F# G A Bb (has the #4 and perfect 5 above the root)

I believe C7b5 implies a whole-tone scale: C D E F#/Gb Ab Ab (only the b5 above the root, no perfect 5). I guess it could also imply a super locrian/ altered scale (C Db Eb E(Fb) Gb Ab Bb) although you'd usually denote altered chords using C7#9 or CAlt.

 Is this any help?

@Joebass is good at explaining this stuff!

All on hold...

I'm selling a few bits from my board, as I'm getting most of squelchy sounds from playing keybass at the moment. All prices include UK postage.

Markbass Super Synth- the earlier, less boxy version. I'm sure most of you will know that this pedal kicks donkey- infinitely tweakable with the option to choose between synth sounds and (super gnarly) octaver. In very good condition- a couple of little marks near the foot switches. Comes with the official power supply, no box & velcro on the bottom. The power supply cable has a tiny nick in it, which I've repaired with electrical tape- does not affect functionality at all. Looking for £120, but open to reasonable offers.

Dr Green Octadose- this has been my main octave pedal for a couple of years. Does a very decent OC2 impression. Really kicks when run through a big rig! I've still got the box & velvety bag it came in. In good condition (a small paint chip on the top edge, velcro on the bottom. Looking for £30. 

Bass Synth Wah- just bought from the infamous @CameronJ- great pedal with loads of squelchy options. Unfortunately it's sent me down the slippery envelope filter slope... Excellent condition, no box, velcro on the bottom. £65 posted.

Not really looking for trades at the minute.

Now with pictures!

1 hour ago, scrumpymike said:

Hey Ceebass, that's the sound we're all looking for.  I've finally found mine too - or close enough to make no difference!  Hopefully the sound in my head won't change, as the cost could go from expensive to EXTREMELY expensive!

This is it! I really feel like this is a keeper (early days I know).

1 hour ago, CameronJ said:

Nice work, @Ceebass. I was contemplating it myself for a while too but in the end I decided it covered very similar ground to my MTD Super 5. They’d look amazing side by side, though!

It's funny, I was weighing up between this a trip to Bass Direct for an MTD. Close call to be honest- they are both super-flexible, light & beautifully designed.

On 20 December 2017 at 16:06, Bill said:

 

Yeah she was lush! stunning bass, but quite heavy! 

heres a few clips of how she sounded:

 

 

 

Dude, that is sick. Great playing.

Sold both of my basses to fund this monster Elwood L (from MrTCat). Sounds immense. I think, what I've been hearing for years in my head. Feeling pretty blessed right now 

Bought Tom's Maruszczyk Elwood. Picked up the bass, had a nice chat & a brew- great guy to deal with. Many thanks dude!

... and SOLD

Sale pending...

@jahfish just legged it round to use my in-law's scales- weighs 3.9kg. Stick it on a chunky strap and you hardly know it's there! 

@CameronJ you are a leg end. Good taste in basses too.

For sale is my Sandberg Electra VS4. I bought this on here about 5 months ago and have gigged it regularly since; it has a great punchy sound and excellent balance. The satin finish is glorious (I don't think they sell them with this any more) and the neck is super slim & playable. It is currently fitted with a hipshot drop tuner, but I will also include the original Sandberg tuner in the sale. It has a few cosmetic imperfections which I've tried to picture: a couple of dings on the headstock, a mark on the neck, one small knock on the back of the body and a little discolouration on the pickup poles, none of which affect playability. 

I've recently (2 weeks ago!) had it fully set up by an excellent local luthier. 'Cos I'm a nice guy, I'll throw in a free fretwrap too (in an almost matching colour ).

For anyone not in the know, a link to the specs:

http://www.bassdirect.co.uk/bass_guitar_specialists/Sandberg_ELECTRA_Vs_Black.html

I'm looking for £350 including postage in a slightly tatty, but very well padded MTD gig bag. If you want to collect, or meet up, I'll knock of £25. I live in Leicestershire and would be happy to drop off around the East Midlands. 

Thanks for looking!

How much does this weigh in at? Am I right in thinking it's 34' scale?

Just bought Cameron's Digitech SBW, which actually arrived early! Super helpful guy, hassle free transaction, would definitely recommend. Thanks dude!

Pm'd you!

@CameronJ what is the gate like on the fuzz? Is it possible to adjust it or does it have a baked in release time?

I've got Mooer rip-off of the Polytune. It's not quite as pretty, but it is very accurate and cheap! I think it was about £40 .

5 hours ago, badastronaut said:

Made simple video last night with the PRO and man does that bass  play nice! incredible low action without buzz......

 

Man, this is a mean tune! Great playing & tone brother. Having a go myself now... 

16 hours ago, AndyTravis said:

There was a bit with a slap section and he deffo didn’t play that bit live 🤨

I'm pretty sure they can do the stuff live- it was basically extracts from the touring show. Jamareo is a great player!

Jeeeeeez just listened to the track- what a vibe!!!

There's a lot of stuff going down in the keys part, but I reckon that the Fb is an important part of the tune: it's there in the horn lines as well.

3 hours ago, CameronJ said:

If only I could afford this 😩

Yeeeeeeeeah 

Would swap a kidney?

I guess it's musical semantics! Generally speaking, chromatic chord alterations spelt in a way that causes the least disruption/confusion and that correspond most closely with the key signature. So if you compare Fbmaj7 to Emaj7 (enharmonically the same thing):

Fbmaj: Fb Ab Cb Eb (3 notes in the key sig, boom)

Emaj: E G# B D# (no notes in the chord sig, loads of accidentals)

I guess if you wanted to be a pedant about it, if you were playing the tune in D#minor (yack), then you would call the chord Emaj7