dlloyd

53 minutes ago, BigRedX said:

But if you were going to complain about the effect, would it not have been a good idea to do some research on the band behind it before kicking up a fuss? And had a look at the general boutique pedal market where this sort of thing is fairly common place?

Also I can't help but wonder what an electronic band like Braids are doing looking into an effect primarily aimed at guitarists? It all makes me think they must have tried fairly hard in order to get offended in the first place. None of this IMO does the anti-sexism cause any favours.

EDIT: I've never heard any music by Steel Panther and I'm hardly a metal fan, but I have heard of the band and know that they are a complete parody of that genre.

The origin of the discussion appears to have been this petition:

https://www.ipetitions.com/petition/tcelectronicpresetpetition

The author is a gear reviewer: http://www.bestguitareffects.com/author/jessica-fennelly/

1 hour ago, BigRedX said:

Less than 30 seconds with Google will enlighten you. The first search result is their Wikipedia entry which starts:

There is absolutely zero excuse for being uninformed these days.

They're an obscure comedy band and within their sphere of influence the joke is probably hilarious. Present it to the wider public without any indication of context and there will be people who either don't realise it's a joke or who just don't find it funny. 

14 minutes ago, BigRedX said:

Sibob is completely right...

But what worries me about this situation is why now and why this particular pedal, a pedal with a parody name from a parody band, when there are plenty of pedals from other manufacturers who appear to be far more serious about their sexism when it comes to naming their products.

I think that distinction requires that you're in on the joke. I've never heard of Steel Panther, I doubt many people have. It's not obvious that it's a joke.

A full photo of the bass might help

2 hours ago, Barking Spiders said:

Oh yes, many of us guitar hero wannabes have been there! 😱 During a period of temporary insanity I had this album along with Surfing With The Alien (Satriani), Passion & Warfare (Steve Vai) and some lesser known showcases of fretwinking in extremis. It took a couple of years for normality to be resumed though i did give them another hearing on Spotty. Certainly no regrets about getting rid of them for 50p each at a car boot sale.

lol... I refer you to my previous post! 

I have a bunch of Steve Vai albums. I'd rather go to the dentists than listen to them.

Way, way too many things.

All that shred stuff from the 90s... Steve Vai and Joe Satriani... it's all very impressive, but I can't listen to it for pleasure.

I enjoyed the film.

Without getting too amateur psychologist about it, his whole life was clearly defined by rejection and his certainty that he wasn't good enough. Which probably became self-fulfilling.

11 minutes ago, Rich said:

I reckon our MD could come up with a brilliant horns-heavy arrangement for Dancing Queen. I'd love to do it, it has a fabulous bassline. And talk about a guaranteed floor filler..!

Do it in 5/4... that would be funny.

Gypsy jazz band, playing 30s style French swing... 

*badly slurred* "D'ya know Wichichicha Lineman???.... Yes you do!!!! It goes Da da da da da da da da da...."

58 minutes ago, Westenra said:

The first half of this makes a lot of sense thank you, the second half is a bit beyond what I currently know but hopefully this will change in the near future.

Thanks for the replies guys, even the sarcastic ones

I could walk you through it... do you have a guitar or a keyboard?

whizzed???

10 minutes ago, Lozz196 said:

Agreed, I think it was a prog about Bowie where the piano playing on Life on Mars was analysed and it`s apparently musically "wrong". Which is what made it so right.

There's an interesting story about Life on Mars. There was a bit of a thing in the 60s with people writing English lyrics to French songs and having hits. Bowie tried it with a song called Comme d'habitude, writing a song called Even a Fool Learns to Love...

Paul Anka bought the rights to it and rewrote it as My Way, which was a bit successful, and a whizzed off Bowie (who got no royalties) rewrote it as Life on Mars.

On 16/06/2018 at 14:58, Westenra said:

I know there's no solid "rules" in music and it all depends on the feel of the song, etc, but if the chord doesn't list it, can you play more than the triad or pentatonic scale?

Example if I come across a C major chord, should I just play the triad and pentatonic, or could I slip in a 7th there? What if I wanted to add some colour with a #11th, would I be asked to stay in the realm of the chord or would it be encouraged?

Hopefully that makes it clear...

Context is everything. 

What sort of music are you playing? Getting freaky with chord extensions and alterations may be great in some styles or they might get you fired.

The bass has a fairly well defined role in most popular music. A major part of that is to outline the progression of the harmony. Thinking "jazz" (which is appropriate given you're talking about extended chords), the keyboard player or guitarist will be providing the rest of the harmony. They're often reliant on the bass outlining the basic triad, certainly on the strong beats of the bar, and use voicings that don't necessarily include the root. Stray too far and the harmony is lost. If you're talking about passing notes, it's less of an issue.

The best place to go nuts, if you have to, is on the dominant chord in a V-I progression. The pull towards the dominant to the tonic comes from the dissonance of the tritone between the 3 and b7 of the dominant chord. You can enhance this dissonance by adding further extensions... 9th, 11th (sometimes) and 13th

Because the tritone is symmetrical, you can invert it so the 3 becomes the b7 (and vice-versa) of another dominant chord a tritone away... the tritone substitution. D7 becomes Ab7 but retains the same function. In effect it becomes a D7b5b9. Use Ab9 and you add the #5 of D7. Add the 13 of Ab and you get the #9 of D7.

It's easy to go wrong with this, so use it sparingly... it tends to work better in minor ii-V-i progressions.

The other place to use interesting colouration is in modal music. If you're playing a lydian piece, you'll be outlining a maj7 chord, but the #11 will be perfectly acceptable. 

In country and western, stick to root & five.

Has there ever been a cooler drummer than this?

Gorgeous!

Voted.... hope you get it, it's a great festival.

1 hour ago, dyerseve said:

like this?:

https://www.ebay.co.uk/itm/CUSTOM-UNIQUE-HANDBUILT-BASS-GUITAR-SAPELE-WITH-MAPLE-NECK-3-PICKUPS-HARDCASE/112976730085?hash=item1a4df017e5:g:38EAAOSw7Etahwx1

 

£700????

1 hour ago, Happy Jack said:

Actually it was a brand new Encore ...

Quality.

9 hours ago, Thunderbird said:

Your mate must be off his head swapping his stick for a dodgy bitsa at least he has learned a valuable lesson shame he's out of pocket but he got off lightly imo

Don't think it was a stick... rather the youtube Anderton's Chapman guitars.

On 29/05/2018 at 12:42, Happy Jack said:

So, how did my audition go? Judge for yourselves - here's the edited highlights with all the cockups skilfully and surgically removed:

 

That look from you at 0:40 says it all! 

Nice one! I played there in the dim and distant past... It was a bit smaller then.

I've sanded a scratchplate before and buffed it to a gloss finish.

I wouldn't have bothered with peroxide/bleach. I used to collect vintage star wars figures and that's a method people sometimes use to return yellowed figures to white. They just go yellow again... faster than before.

If I were you I'd buy a new plate.

Any number of badly set up basses in guitar shops. Most of them would be good if they were tweaked/restrung.