FDC484950
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Everything posted by FDC484950
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Mine is on its way to the UK so they clearly are picking up from Thomann...
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I think everyone that quoted you knew exactly what you wrote and can read quite well. Maybe you’d like to ring them and tell them your thoughts - see what they say
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Yes, it is kind of hard to tell what will happen. Leaving the politics aside, something bought in the EU will have local VAT paid. Should it not arrive until after 31st December, I wonder what would happen as a parcel shipped after this date should in theory not have local VAT paid and will attract 3.7% duty then 20% VAT on top (pending a trade deal, which likely as not won't affect this amount). Common sense would dictate that import authorities will recognise the VAT was paid and only levy the duty and other import charges; reality will probably mean levying the full whack and leaving the recipient to try and recover the local VAT off the original sale. Looks like my parcel has hit Frankfurt and says "on time". Fingers crossed. I would have purchased in the UK but unfortunately Thomann were the only retailer I could find for my item in the desired spec (and were £300 cheaper than UK prices, to boot). To be fair they have been in touch regularly; I have no reason to disbelieve what they've told me, perhaps it's just the worst possible time of year (or any year!) to buy from Europe to UK...
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Hmm, ordered mine last Wednesday first thing in the morning. I’ve been told mine was collected on Friday but UPS tracking updated this morning to say “Shipper created label, UPS has not received the parcel yet”. My item is quite expensive. Had I known an in stock item takes nearly a week to be collected I wouldn’t have bought it. Now very concerned this will get stuck in Germany through Christmas...
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I initially thought of get Linear, Intervallic, Dissonant and Lugubrious... sorry for the shameless supermarket plug
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Music Man Bongo 6, 2008: trades added... :)
FDC484950 replied to bassmayhem's topic in Basses For Sale
PM’ed -
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Crikey! I had a BSR Elite G 6 with Clark Walnut facings many years ago. Fabulous bass. I shudder to think how much that collection cost...
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Difference between a Stingray Special and Classic
FDC484950 replied to lancer's topic in Bass Guitars
It’s Tektonic blue I believe. I considered it but a) I could find a 5 HH model anywhere in Europe in stock b) I can’t even order one as all 2021 stock is already allocated to back orders according to my local dealer and c) it’s a bit too “magician’s coat” for my liking. In the end I plumped for Charging Green as it still has a (more) subtle flake and I’ve loved the look of the ones I’ve seen with the roasted maple neck. -
I am in a similar boat now - ordered something yesterday, no answer, rang them and they will not commit to a despatch date, only citing a “backlog” of orders. Given the item is expensive I’m getting cold feet and am tempted to cancel - especially as Guitar Guitar were able to despatch an order placed Saturday morning that was delivered Monday at 8am. I won’t be ordering again and like others have concerns over returns and warranty...
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It all depends on the articulation. If there is clearly a gap between two notes (so they’re clearly articulated and there needs to be silence between them that is heard) then it needs a rest. Often th note before the rest will be staccato or accented to highlight the gap. If it’s less distinct or very fast a ghost note may be more appropriate as it can often make the line flow better.
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NOW SOLD I fancy a change, so my Sterling 5 HH is up for sale. It’s a 2011 model, black with matching headstock, ash body I believe and maple neck with rosewood board. HH configuration with 5-position switch, giving some cool coil combinations, mostly wired in Series but also with both pickups full on in parallel. 3 band eq and the usual Sterling appointments, such as the regular Stingray pickguard and surface mounted controls. 5-bolt contoured neck joint for easy access to upper frets. Pictured with Hiphots but will be sold with the OEM Music Man tuners. Weight is 4.4Kgs. It’s in excellent condition - small scuff to the rear of the neck that you don’t really feel when playing and a smaller Mark further up the neck that is just visual. Comes complete with Music Man hard case in excellent condition. Home use only, paintwork is flawless and it sounds just great. B string is super-tight and shows just what you can get from a 34” scale with great construction. These are rather rare - I’ve not seen another Sterling 5 HH for sale in the UK over the last few years (other than this one!) and a new one would be around £2,500 plus the 6-9 month wait, so grab yourself a piece of beautifully crafted American bass for Far Eastern Sterling pricing I have an enormous box with about 100,000 polystyrene wotsits so shipping (mainland UK only please) is no problem. I’d prefer you not to collect unless you’re coming from an area where you’re allowed to travel (COVID and all that!) For sale only please - no trades. -
Get a keyboard. Seriously, it’s the best possible way to learn ear training, harmony, melody, the works. All classical and the majority of good jazz musicians learn something on the piano to improve their understanding of harmony. It doesn’t matter if you can’t play a note - bang out some basic intervals and get used to the way they sound (bass is too low in pitch in general). Then move onto triads and finally 4 and 5-note chords. Each one has its own sound, and a keyboard helps you to hear that sound in its various inversions. You don’t need to be able to sing the interval but you do need to be able to hear it. Plus it really helps when transcribing to have a keyboard to hand - when I got a keyboard I started working out the chords to songs a lot more.
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Just had a listen to the actual track. The only time Emin puts in an appearance is the very first chord. Every other time it’s Emaj7. The intro is E minor, the verse and chorus are E major broadly but with some nice jazzy substitutions. The chords in the verse and chorus sound like Emaj7, Cmaj7, Amin7 and D9sus4, second time around the same except the D9sus4 is replaced with an Fmaj7 (e.g. listen to the guitar right before the first verse vocals come in, clearly the same chord shifting down a semi tone). It’s a good tune as it plays on that minor/major key feel and two maj7 chords a major 3rd apart always sounds cool (even a tiny nod to a John Coltrane perhaps?)
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Ah the sheet music makes a bit more sense, having not heard the tune recently but kind of remember it. The intro is clearly E minor (note chords have no sharps, flats or natural signs except the B, which is expected as the V chord for a minor is normally a dominant 7th) and they’ve kept the key signature the same for the verse, where the chords change. The verse is not in E minor but as one key does not fit these 4 chords it probably makes life easier to leave it as-is and write in the accidentals.
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I know my way around harmony pretty well and I’d welcome your explanation of why the chords above refer to E minor.
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Yes, having a Sterling V HH I do much prefer the clean lines of the traditional Stingray pickguard. The current Stingray V pickguard is enormous and for me unbalances the bass visually, especially if it is a two humbucker model. The BFR model in the link does look much cleaner.
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Hellzero, out of curiosity how are you able to see this? Where in the picture above are you looking. The photo isn’t super sharp so what may look like a burned component may be a shadow or something else entirely. To my non-expert eye I cannot see what you’re seeing.
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Sight reading with multiple sharps/flats in the key signature
FDC484950 replied to 41Hz's topic in Theory and Technique
Music is a language, and like any other language, if it’s written vaguely or with too much obfuscation it can be hard to understand. The point of notation is to display the maximum amount of information about the performance, as simply and clearly as possible. So as Bilbo says, on some jazz lead sheets they might indicate a key signature relevant to the melody, but in practical terms a key signature is probably unhelpful, as many tunes go through different key centres, and changing the key signature several times in a short piece of music isn’t making life simpler! It’s more common in classical music but even then, more atonal pieces render a key signature useless. As a sometime sight reader, having a piece of music put in front of you where it’s expected that the second, or at most third run-through is being recorded, or a big band book with 300+ charts handed to you, and page 168 is in 5 flats, is the kind of experience where your reading comes on leaps and bounds. With fewer and fewer of these opportunities available, by far the best alternative is again as Bilbo says - just read lots of music in all different keys. The Internet has a lot of freely-available PDFs - something I sadly never had when I started -
I had a half fretted/fretless bass made many years ago. I experimented with the solution above - raising the fretless part of the board (fretless started at 13th feet). I tried to raise the fretless board to exactly the same height as the frets but I had to have it lowered a touch because playing across from fretted to fretless felt very odd (I don’t fret on the fret but behind it, which made it feel like going up a ramp to the fretless section), and neck relief is slightly different on a fretted to a fretless bass (more of a gentle curved very close up). However it did provide a far more appealing action on the fretless part, but still a compromise compared to a fully fretless bass. In the end I sold it as you could only really use it to play parts up to or after the transition - a long ascending line that crossed over just sounded weird, and I got caught too many times playing in and out of the fretted/fretless bit, which was confusing and didn’t work when recording. Fine for a special case bass but I wouldn’t have it as my main instrument.
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You may want to check for what TNT will allow enhanced cover. It may have changed but last time I looked, musical instruments were excluded. EDIT: I’ve just looked again (https://www.tnt.com/express/en_gb/site/terms-conditions.html) - TNT are to become FedEx Express, and I can no longer find that exclusion, so they may be fine and apparently maximum limit of £15K - unless of course it’s buried somewhere else on their site. With Interparcel it pays to read every bit of their terms and conditions (which are normally a re-hash of the courier’s Ts and Cs).
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Good improvisation is a mix of linear, intervallic, diatonic and dissonant ideas, based on themes that hopefully link together to make a musical statement. For bass players it is often a good idea to start out improvising with chord tones precisely because it gets you away from playing linear scale ideas and into the habit of playing in a more intervallic way - which is more interesting to the ear.
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Just imagine if she discovered Jazz 😃 Very cool and a phenomenal ear. IIRC George Shearing did something similar (was it the South Bank Show? Can’t remember, lost in the mists of time). Incredible ability that I imagine only piano players could truly express...
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It was Japanese - the dead giveaway being -desu at the end of a few sentences (“to be” or “is”, basically). Looks and sounds cool to me. Don’t know what all the fuss is about him being deserving if it’s a Fender Artist model in Asia...
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IMHO it is a great video with the background and some history. Although I like the musicians I have a hard time liking the album because the pristine digital recording sounds flat and dull to me - although this is a not uncommon recording style for the Dan (Gaucho, to a degree, and Two Against Nature suffer from this). The other thing that puts me off a bit is some of the stiff performances - although Anthony Jackson is in my top 5 bass players the vid had it right by saying that performances were robotic, both of his tracks are very accurate and precise without doing anything for me (also muddled with doubled keyboard bass). Chuck Rainey and Marcus Miller - on Green Flower St and Maxine respectively are the high points. Walk Between The Raindrops is ruined by too much overdubbing (awful kbd bass line doubling the bass) only rescued by Larry Carlton and Greg Phillinganes’ excellent and very musician parts. Overall it feels like there is a great album hidden in there that never really fulfilled its promise.
