sdgrsr400

Another useful challenge it will bring is that you will probably encounter a wider range of key signatures than in much popular music, at least with works from the mid-Classical period onwards. And, of course all the usual associated accidentals for altered notes will appear, particularly in minor keys. The net result is you learn a greater familiarity with the position of notes on the neck, no matter how they are notated, C# Db C## E# Fb F## Cx etc.

Simple command-line LAME works fine with default settings for me: [url="http://www.rarewares.org/mp3-lame-bundle.php"]http://www.rarewares.org/mp3-lame-bundle.php[/url] . Save the following as ConvertWAVtoMP3.vbs: [code]Option Explicit Sub Main&#40;&#41; if Wscript.Arguments.Count <> 1 then Wscript.echo&#40;&#34;Incorrect command-line argument&#34;&#41; Wscript.Quit&#40;-1&#41; end if Dim wav_filename &#58; wav_filename = Wscript.Arguments&#40;0&#41; Dim mp3_filename &#58; mp3_filename = Replace&#40;wav_filename, &#34;.wav&#34;, &#34;.mp3&#34;, 1, 1, 1&#41; 'Wscript.echo&#40;wav_filename&#41; 'Wscript.echo&#40;mp3_filename&#41; if wav_filename = mp3_filename then Wscript.echo&#40;&#34;Input file is not .wav&#34;&#41; Wscript.Quit&#40;-1&#41; end if Dim converter &#58; converter = &#34;d&#58;\software\lame3.97\lame.exe&#34; Dim invocation &#58; invocation = &#34;%comspec% /c &#34; + converter + &#34; &#34;&#34;&#34; + wav_filename + &#34;&#34;&#34; &#34;&#34;&#34; + mp3_filename + &#34;&#34;&#34;&#34; 'Wscript.echo&#40;invocation&#41; Dim WshShell &#58; Set WshShell = WScript.CreateObject&#40;&#34;WScript.Shell&#34;&#41; Call WshShell.Run&#40;invocation, 8, true&#41; 'WScript.Sleep&#40; 4 * 1000 &#41; Set WshShell=nothing 'Wscript.echo&#40;&#34;done&#34;&#41; End Sub Call Main&#40;&#41;[/code] change the "converter" line to the right path to the Lame exe. Then create a shortcut to the VBS in your C:\Documents and Settings\Your Name\SendTo folder and you can activate a context menu Send To item on any WAV file in Windows explorer.

Fab! Just what I need.

I'm in west London and could be up for some lessons at some stage (not that day unfortunately). However, your Facebook link is blocked unless you are a Facebook member - which I am not.

Maybe he just split the difference between those two keys Hmm, also nice to see something obviously written specifically for a 5. Got any songs in praise of wine?

I like your choice of key signatures...

From my recent experiences, I'd say bolt-on v. through-neck is a major differentiator. However, only you can decide...

[quote name='Hot Tub' post='706459' date='Jan 9 2010, 12:19 PM']It's an individual thing. Some people really struggle, some have no problems. Personally I found it really quite easy, and now play both comfortably. Try as many as you can, as variations in string spacing seems to be the key to finding the right instrument. [/quote] Another +1. There's a wide range of possible 5(+) string spacings and neck profiles, and these can feel anything from easy/slick/comfortable to hard/cumbersome/awkward depending on your personal hand & body size and technique. Don't be swayed by brand names, every bass is different, try before you buy.

Just outside your budget, but quite interesting: [url="http://basschat.co.uk/index.php?showtopic=71159"]http://basschat.co.uk/index.php?showtopic=71159[/url]

I'm no expert, but on a 4 you can for a lot of the time get away with a fairly fixed RH position (I'm not saying you do of course), whereas with the wider expanse of the strings with a 5 (let alone 6) this is not really possible without awkward stretching. The solution is to keep the RH mobile, not anchored in one place. It can be a bit daunting to give up the security of thumb on E/PU/etc initially, but you will grow in familiarity with the bridge area in due course. And of course one needs to move around to play near the fingerboard or right on the bridge to get very different tones also. I have to say I feel a little uneasy when I see people on this board asking about fitting thumb rests because that seems to be going in the direction of a locked-down RH position, which I don't really favour - or maybe I'm missing the point. Ah well, each to his own I guess...

When I bought my Acme B2-ii, it was shipped by FedEx Great Rate plan which worked out reasonably well. However you as a buyer can't book onto that scheme directly, it has to be done by the originating supplier who then bill you. Have an email conversation with your speaker's maker about shipping options. If this is some kind of private or s/h deal, quite frankly it could well be much more trouble than it's worth.

For 5's I think string spacing is at least as important as scale length. The market trend over the last decade for 5's seems to be towards wider string spacings, which naturally aids slap'n'pop, but I'm not so sure this is a good thing as it almost inevitably means a wider and less accessible neck. So, if you're not really into slap, maybe going for a narrow, fast neck might be the way forward...

I've recently moved from using Overwater 34" nickel medium to light strings, which on the G is a change from 0.044 to 0.038 (as shown on the string packaging - the website says 0.045 and 0.040). The light G string is definitely a bit wingier than the medium and I have seriously considered reverting back this string to medium weight (as I have one to hand). The remaining 4 lower strings are fine and I prefer them to the previous set for ease of playing and pretty much identical sound quality. Practically though, the winginess is more in the acoustical sound of the struck string, the sound via the P/U's isn't hugely different. In the end, the heavier G might unbalance the playing feel so I haven't felt quite motivated enough to make the change to revert back to the 0.044 G. I think the message for you might be to see if you can try out a heavier G which is still compatible with the remaining strings. Good luck, let us know what eventuates...

In the last couple of days I've been getting quite a lot of intermittent connection failures to BC. On a retry it often works. No other websites seem affected, so I think the problems at your end. Also, I tried access from work, an entirely different network with high-speed internet connectivity and saw similar effects. Ideas?

I like Overwater nickels: [url="http://www.overwaterbasses.com/buy-strings-online.htm"]http://www.overwaterbasses.com/buy-strings-online.htm[/url] When I was on 35" (extended) scale I used the medium weight, but now I'm on 34" (regular) scale I find the light weight better - easier to play and less inharmonicity on the lowest notes. Pretty good value I reckon, and great guys to deal with.

The spec looks amazing - anyone got one here? [quote name='warwickhunt' post='675912' date='Dec 6 2009, 05:33 PM']Non more dark than... The Warwick 'Darklord'! [url="http://www.warwickbass.com/modules/produkte/produkt.php?katID=14460&cl=EN"]http://www.warwickbass.com/modules/produkt...14460&cl=EN[/url][/quote]

Well, interestingly enough, on this Ibanez SR1205 instrument for the 1995 figured maple top/maple body version they offered it with gold hardware, then for the 1996 figured maple top/mahogany body they used black hardware. Here's the respective catalogue images from the Ibanez register: The other visible change is on the 5pc thru-neck, changing from maple/walnut construction to maple/wenge (f/b remained rosewood). Personally, I rather like the gold finish, I don't think it looks too bling and suits the light top wood colour. I'll be checking out my options on converting to that look: the tuners are Gotoh so shouldn't be a problem but a new bridge might have to be a non-OE part.

You could also have a day trip to Brighton and visit GAK.

As the thread has been revived, I thought I'd let you know what I did (and thanks for everyone's suggestions). In a local hardware store I got a washing up mop which had an 8mm wood dowel handle: [attachment=37625:DSC00072.JPG] I cut off about 25mm from the end, and then put this stub in an electric drill to act as as kind of lathe. Then run the drill and with sandpaper I gradually sanded down the end until it was a snug push fit into the hole, flush to the top. Then I put some wood finishing oil on the plug to seal it and make its colour match the top a little better. Now, from a metre or more away it's not really visible: [attachment=37626:DSC00073.JPG] The knobs are new, brushed aluminium ones from Maplin: I think I prefer them to the matt black ones shown above, but I'm still looking for the perfect knob (er, perhaps I should rephrase that... ).

Welcome. I used to live about 30seconds away from the Red Lion, rarely went in it tho..

Homebase/B&Q do large sheets of 3mm fibreboard which isn't too expensive and makes a pretty good defence. An electric jigsaw to cut it would be useful.

The classical criterion for whether something is not "proper" is whether it leads to tension in either hand. If there is tension, then there almost certainly be long-term problems (due to hand cramping and poor circulation). I think we'd all agree that the best players have an "effortless" quality about their playing - so does your technique give you this? Could you do it all night without problems? If so, tell us all about it!

Surprising absence of input here given some very informed board members. A couple of tips from a dabbler: 1. COUNT COUNT COUNT COUNT!!! 2. You don't have to play all the notes. By that I mean if a passage is technically too hard in the LH, do some "air bowing" to keep synchronized with the rest of the section. No-one will spot the difference and it's better than coming to a halt or making a hash of the notes. Good luck!

Used to work round there, there's some really excellent restaurants in the vicinity should you feel like a good meal.