Mikey D

96er going up for sale.

Lovely story. They really are just a pleasure to play and I'm sure you did it proud.

Nice. I can confirm it's also played by failed jazz musicians too now

If it was identical 94 but blue maybe...did you move it on to someone on here?

Definitely 2 of them... Since selling my 1994 Blue TRB6 as a poor mature jazz student to someone on this site in the mid-2000s (that subsequently sold it on a few times and unable to trace), I still massively regret it to this day. I bought it from Chappells in Milton Keynes as a 16 year old after working and saving for a long time. Every so often I look for it, but I've accepted it's likely locked away in it's case somewhere but hope it's being enjoyed by a young bass player somewhere. However after this one came up at Bass Bros I knew I had to try it. I've had many basses over the years but none have ever felt so natural to play. Maybe 10 years of formative learning on an instrument is ingrained in me. So this one was same year albeit different colour. Still, in immaculate condition. Think it was Cairobill's? Although it seems to be like buses...a Black 96 TRB6 also came available. Tbh I wish I could keep both but reality is after losing job last year (FU tech industry) I recently also had to shift my KS Burl Burner which in any other circumstance I'd still have. But man, I got 3 kids to feed... So going to play both for a bit and decide which one stays and which one goes... To this day I'm convinced there is no better value for money and sounding 6 string that these OG Japanese Yamaha's.

MFSB/Ojays/Soul Train band Jimmy Williams?

The headstock shape and 4 control layout with jack on the side makes it look like some form of Atelier Z like attached or linked: https://www.ikebe-gakki.com/Form/Product/ProductDetail.aspx?shop=0&pid=794063&bid=ec Not sure though.

The talman is amazing value for the money. I play it more than most of my basses. I upgraded it too with Aguilar. Not a small job but made a massive tone difference. Dont forget the EHB range for short scales too. I had the 1505sms and only sold to fund another more expensive bass. Great basses. I played them both with low B and high V. I'd you can find used they are great value too.

They have a lot of confidence building and positive PR to do in a year if they want to do an event next year.

I didn't see it but kept going back to the page more than is healthy. Especially since I just bought a buckeye burl one. Lovely looking bass!

Was it the recent flame top one or the older red one?

I've been extremely skeptical since it was first announced and how slow the information being shared was. Then when we got more detail the organisation on the day didn't seem to have any logic of clarity to it. Plus the shocking use of poor quality logos in the website just added to how unprofessional this was looking. The informal bass bashes organised by people voluntarily on here seem to have more thought into things.

Ok. Who bought "my" seafoam burner before I could? 🥲

https://www.eventbrite.com/e/bubby-lewis-performancejam-tickets-1291237158099 He's got a handful of gigs coming up including this one in Manchester which is a jam too. I missed one recently in London right next to my office on a day I was in...so sharing this so more people know about it.

Yes. I also mentioned in my posts but I like taking it from brighter to darker. So it goes through majors to minors then augmented. This allows the ear to hear the relative changes between them too a bit easier.

I have a copy. Well a copy of a copy. Back when I was studying at a Conservatoire me and a fellow mature student got VERY into it. It gets pretty heavy pretty quick, but if you're into that sort of thing...

Originally I learned them in order of 'white notes' starting on a different degree of the C major scale as someone else mentioned above. Then I understood the shapes of each when playing on bass and started thinking of them as a sequence of tones and half tones. Practice was typically in that order in different keys playing one mode over static chords/vamps. Then I started playing the modes in order of "brightness"-"darkness". This way only one note changes at a time between the modes so you can hear the subtle (or not so subtle changes) it also groups the modes together as major or minor. With E as the starting note for each mode: Major Lydian: E F# G# A# B C# D# E Ionian: E F# G# A B C# D# E Mixolydian: E F# G# A B C# D E Minor Dorian: E F# G A B C# D E Aeolian: E F# G A B C D E Phrygian: E F G A B C D E Locrian: E F G A Bb C D E Then I started thinking of them as triad pairs above the root of E. So Lydian was F#maj and G#min over E, Ionian was F#min and G#min over E etc. Once I was comfortable with these I moved onto modes of melodic minor and harmonic minor. Tbh I wish I started using them sooner but it wasn't until I really started studying jazz properly I went down that route. Playing 30 years now and don't really think about them consciously. Depending on what you play I think they have value in learning but having taught many people over the years find some never get it and others find all different routes into understanding or hearing them.

The e series as I understood it meant to be slightly most cost effective (cheaper doesn't seem the right word). If you look at another supper online there is a good £500 price difference once conversion done. That said only BD have them in UK so can charger whatever. Their last one was nearer to £3000 than £3500. Which is a shame as at the former I would have bought on the spot but I'm currently debating it at the slightly higher price. Plus conscious prices were increasing over the year but didn't expect a £500 uplift.