Munurmunuh

I don't think I ever had the need to go beyond the 15th fret...

11 hours ago, Cosmo Valdemar said:

And speaking of Metallica, Rob Trujillo isn't known for playing his Zon signature much.

James won't let him

I just received a G&L LB-100. It'll be getting the same treatment as my Squier: a Dimarzio and Pro Steels. The Squier is already gone.

My favourite detail

At least there's no danger of anyone wondering, who are those people?

Advertising ain't what it used to be

Early Smiths, Andy Rourke's bass was tuned F# standard.

A bit later, when he started recording with E standard, he would still tour with a F# bass for the early songs. Details lovingly collected here.

8 minutes ago, Bassassin said:

Never was a fan of the pointy/droopy headstock on an otherwise conventional-looking bass, just looks like a mismatched bitsa.

A worthy exception to your rule, I feel:

5+0 ... white ... pointy inlays ... 

22 hours ago, Huge Hands said:

Ok, just me then!

No, not just you, yeuch

4 hours ago, 64stratopete said:

Hi. Any more comments welcome, I've just bought a G&L Fallout Tribute short scale and I absolutely love it, it's perfect ... but it wants to hang several degerees below my optimum balance point. I really don't want to return this guitar and start agian. I've ordered a wide grippy strap, and I've seen Jay Lamm's video re. contructing a back-end counterbalance, anyone else got any ideas? Extending the top horn button mounting seems neglected ...

Presumably the USA built version (which is usually around the same weight range as the Tributes) does balance .... and that will have their lightweight tuners. My USA LB-100 has those lightweight tuners and balances perfectly — despite weighing only 7 lbs 0.

Please find attached my application to have this thread renamed 

I love the Johnny Marr signature, he put so much effort into it. As Fender let him do what he wanted with the specs, the production guitar is what he plays. Also, it's available in orange, so.

Given how much replacement 1024 pickups cost, I predict that small piece of chrome will be priced c. £2,000

That's some very tasty tort

When my BB424 arrived I was convinced that the vendor had blown cigarette smoke into the packaging before sealing it up. I was relieved when smell left the bass in just a day or two.

Getting the smell out of a case, though...... yeuchhh

Ooh, before this goes from on hold to sold and gets locked, can I quickly ask — am I right that the necks on these are in the wide+shallow genre? I think I correctly looked up that the nut is 1+11/16" with the profile simply listed as "C". 

8 hours ago, Maude said:

A visually subtle but sonically strong change to my BB424X. 

if I had (a) that bass and (b) the wherewithal to do things like this I would hide two more volume pots inside the bass and rewire the toggle switch to make the options neck / full neck plus some bridge / full bridge plus some neck.

Go on, you know you want to

18 hours ago, Lfalex v1.1 said:

they were more vocal on the effects of chambering

Thanks for bringing this my attention — it seems that chambering would do to a bass exactly what I don't want. Useful to get that learnt  

40 minutes ago, Burns-bass said:

I reckon you could get another luthier to knock up a similar bass and order a Wal and you’d still have change from £12,500.

I want bass guitar A. It's available, and I have the money to buy it.

Someone has suggested that instead I buy Bass B in a few months time, and buy Bass A in a few years time. 

Guess what I'm going to do?

3 hours ago, Burns-bass said:

It’s a preposterous amount of cash for someone who can’t be bothered to wait a few years. Madness.

 

Good luck to the Gallery!

If you've the necessary pile of cash, what range of tones will be able you get out of it while you wait patiently a few years for a Wal?

My third (and final!) suggestion is a piece by Josquin Desprez, designed to be sung very early on Christmas morning, with an opening line which means something like "Outside the natural order of things....." iirc. It's a big but controlled texture, and really nails the sense of something extraordinary and wonderous:

Earlier than Palestrina, but on the same page.

48 minutes ago, BassTractor said:

In the mean time, Madge performed it live in Utrecht and that performance was sent live on the radio and was released on vinyl. That performance, to my mind, was much better than his later recording of it. I've never found the LPs and must just feel lucky I got hold of the Ogdon version after some time

11/06/1982 Geoffrey Douglas Madge (piano)

Muziekcentrum Vredenburg, Utrecht

Sadly no sign of it on YouTube 

1 hour ago, BassTractor said:

Whoah! This is only the second time someone has mentioned that work on BassChat

I am one of not very many people on this planet who have sat through an entire performance of this piece — I think at the time it was still only the 19th performance ever. The audience wasn't much bigger than 19 either.

After a while the concept of notes slips away, and later even just the waves of notes start to meld into one vast and weirdly calming whole.

It was also weirdly addictive - the pianist was doing another performance not very far away a few days later and I was very tempted to go to that too. Only the long journey back home on my own put me off.

I guess after a while the music puts you in its own place. I had a similar sense after a King Gizzard and the Lizard Wizard gig.

11 hours ago, miles'tone said:

The little I've heard sounds like horror movie music

If you dip in and out of Bartok you'll find that element of being deliberately disconcerting comes and goes — sometimes the harsh noises are just there for the fun of it, not trying to discomfort, just simply being itself.

Bartok claimed that every last thing in his music is taken from folk music, and in his awkward rhythms and harsh harmonies, you can always hear the happy folk player digging into his violin with a gleam in his eye.

6 hours ago, BassTractor said:

Yeah, sorry about that.
I've corrected my post.

I've just tried to calculate how long a Bach Requiem would be — about the same as the Opus Clavicembalisticum?

Definitely not long is this lovely little sonata by Scarlatti, who I've grown to prefer to Bach, as it seems I prefer cheekiness and facetiousness to godliness, at least in my baroque instrumental music: