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Why shouldn’t the seller post? If you want to sell it so bad, get off your behind and post it. You’re the one asking for upfront payment with nothing but a promise to deliver!

No, extended cover on an item “allowed” (plastic screen).

It wasn’t a bass - the previous poster was talking from the perspective of a logistics manager

I don’t have a ton of data but twice Parcelforce have broken an item in transit. In both cases I provided evidence of packaging and the details of the sale. They did pay out in full both times, the second time was a couple of weeks from delivery to pay out.

Musescore is also free - it’s mostly for transcription rather than as a recording roll but I’m increasingly impressed at how fully-featured it is considering it is free!

My take on it is that if you arrange the courier based on someone else packing it for you, sooner or later you will get bitten. As has been said, couriers don’t look after parcels and even a hard case is no guarantee the bass will arrive unscathed. The best packaging I ever had was a hard case in a box probably 3-4 inches bigger in all dimensions, completely (and I mean completely) filled with polystyrene wotsits. It took me 20 minutes to get them all back in the box after removing the case! The box was battered but the case and bass were perfect. Of course, at the point of purchasing I had no idea as to quality of packaging - but I knew that the seller had paid for the shipping (and I’d paid via PayPal) so I was reasonably safe. If you slide a hard case into a thin double-walled box with no packaging it will get some damage in transit unless you’re lucky. Of course it’s a personal decision - if they want ship and it’s too far for me to collect, I’ll pass.

Oh totally - over-playing as a bass player is the quickest way to empty a dance floor I just thought it was amusing coming from someone who played on all the Flecktones stuff, which was about as dense with notes as you can get - not that he doesn’t have great feel, of course.

If it is Jazz then the Jazz theory book contains tons of info on the mechanics of improvising. On YT I’ve been enjoying a couple of channels recently - Jazz on the ranch (Kent Hewitt) and Aimee Nolte - both piano but great for understanding more about both chord progressions and improvising. Generally other instruments are much better at improvising than bass from a melody perspective so I’d seek out sax, trumpet or piano works. The Aebersold playalongs are relatively inexpensive and cover common standards. If talking about bass part improvising then start from James Jamerson (standing in the shadows of motown). Then get some Chuck Rainey transcriptions online (or work them out yourself!) - he’s a master of pocket playing. In the Theory and technique section there are plenty of threads with links to a ton of charts. Useful if you can read or want to learn to.

Ironic given he’s spent most of his career playing tons and tons of notes, double-thumbing etc. Now if it had been Joe Osborn, or Chuck Rainey, or even Jamerson himself giving the talk... Whilst I totally get what he’s saying, the worst example he could have given was Allan Holdsworth. Sure his music doesn’t appeal to many people but he never sold out to play “commercial”, stuck to his guns and his way of playing (at times at great personal cost), and that in its own way should be applauded. Plus I happen to think he had great feel. It would be a dull world if we all played/liked the same things. Feel is something everyone can appreciate but it is also shaped by personal taste and cultural/musical exposure - and is much more complex as a result (as are all other human emotions)

I did a thread about this a while back Clarky. The consensus seemed to be it’s up to the seller and you don’t have to buy it. Personally I would bother but I guess some people are happy to assume the risk...

At least it’s mostly in 4

Christ! I remember that tune from way back. Quite a feat to transcribe, goodness knows how you’d play it. Well done. Nasty piece of music though, only saved by Allan Holdsworth’s customary brilliance

For the SR305 red or white looked best to me (may be an older model).

Funny you should say that, I have Bartolini mkII pickups in my Ibanez BTB676 and am waiting on some US H66CBC replacements as the balance is all over the place - the B string is about 1.5 times louder than the other strings with everything flat and the pickup tilted slightly away from the lower strings. At the same time the top C sounds weedy and thin. Of course the Ibanez circuit may be the culprit (and I’m replacing that with a Bartolini circuit and pots anyway) but it sounds just fine acoustically so good enough to upgrade. It’s a shame and not the first Ibanez I’ve played with poor electronics. Hopefully the QC issues will be sorted on the new range.

How to make what might be a good bass sound sh*te😀

Not really, once you get the hang of putting it together so you can see each beat, then there are a few “shortcuts” like the ones dodge_bass posted that whilst not strictly “correct”, are so widely adopted that they are in effect the new correct. They’re used because there’s less information on the page, which makes it easier to read. Just like any language, music notation evolves over time. You’re doing a great job - keep at it

Er yes - those examples are all pretty standard, aren’t they

I agree - written music’s only reason to exist is to convey the music as clearly and efficiently as possible. I didn’t say I’d never seen it - but I’ve only seen it on charts that are badly notated. The “rules” are inconsistent too as eighth/quarter/eighth notes crosses over the beat but it widely accepted - maybe because the alternative way to write it would be 6 eighth notes and 2 ties, so 3 things is much easier to read than 8. I think a dotted quarter note rest is also quite common, so maybe it’s just another available shorthand. For me having an eighth note then a rest that isn’t an eighth note makes life harder Anyway, well done to the OP for working on the transcription!

In all the notated music I’ve seen and read, from jazz charts, to west end theatre pit scores to professionally written parts, I’ve never (intentionally) seen a quarter note rest across the beat - apart from when the chart was just badly written all over. I agree there is a balance of readability vs convention but if you go down that path you will end up in a mess - eg sixteenth note on the 1 and another on the -a, do you put an eighth note rest in the middle and beam them together? When a part gets complicated such things can make reading harder than it needs to be. It may be your experience but I don’t agree it’s how “most people” would write it. As the OP is fairly new to transcription my advice would be to notate correctly first, then decide how much you want to “customise”.

That’s it - trying counting along with both examples. The first one is much easier to read

Commission sale all the way (or here!) unless it’s cash in collection. I would not sell anything of value on eBay for this very reason.

I’ve just listened to it again on YT and it’s in A minor.

Musescore is great considering it’s free. It does benefit from spending some time learning how it works as there are lots of neat shortcuts and the “right” way to do some things. I’ve struggled to get the right layout and simple things like indicating swung 8ths involves a laborious hack, but it’s light years ahead of the last package I bought (Finale PrintMusic). The palettes including the break icon (like a return key near the bottom of the list of palettes) and one of the menus allows you to reformat a selection of bars if you want to for example set 4 bars per line. When it comes to layout, common sense prevails. The point is to convey the music as simply and clearly as possible. I tend to add rehearsal letters (capital letter in a square box) as it makes finding sections in a longer chart easier, and it was habit when doing theatre and studio work - easier than everyone trying to find interlude 4 before chorus 6!