[LIST] Is everyone getting digest?

#1 · October 27, 2003, 7:07 am

Quote from Forum Archives on October 27, 2003, 7:07 am
Posted by: jason_a_weaver <jason_a_weaver@...>

This new digest in so confusing. It puts everything in an order by heading in the TOC, then it is in regualr order in the digest. They refer to the emails as 201, 202, & 203 but don't put that label on them in the digest. I would rather not have the digest, and at the bottom of my digests is a link to 'unsubscribe digest'. Does this mean I will ONLY unsub from the digest, or does it mean that I will unsub form the list? I do NOT want to do that, and if I did I am not sure how to get back on here.

Any help would be great!

Thanks,

Jason

churchbass-digest-help@welovegod.org wrote:

churchbass Digest 27 Oct 2003 10:00:19 -0000 Issue 11

Topics (messages 197 through 220):

[PRAYER REQUEST] SoCal Wildfires
197 by: Tim Warstler

[GATHERING]? Christian Musician's Summit
198 by: Ken Dale

Re: [GEAR] Stretch tuning (Was: Buzz Feiten...) (REPLY)
199 by: Peter Sharp
201 by: Chetin Basaran

Re: Hertz so bad
200 by: Clavin Bast
202 by: Chetin Basaran

{PRAYER} - San Diego fires
203 by: Lou Syracuse
205 by: Chetin Basaran

Just when you thought no one understood...
204 by: Walt Everly
212 by: Gene Simons

[music] Reading lesson needed
206 by: Claude Ingersoll
207 by: Erin Anne Beirne
208 by: Rik Osborne
209 by: Erin Anne Beirne
210 by: famkan
217 by: Wulf Forrester-Barker
218 by: Erin Anne Beirne
220 by: Wulf Forrester-Barker

[GEAR]
211 by: Bradley
Link

Re: [GEAR] Good compressor
213 by: Andrew Jackson-Smith
214 by: Dennis Weatherly

Re: {GEAR} Compressors and crying
215 by: Andrew Jackson-Smith

{GEAR} P in a J
216 by: Wulf Forrester-Barker

[PRAYER REQUEST] SoCal fires update
219 by: Tim Warstler

Administrivia:

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churchbass-digest-subscribe@welovegod.org

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churchbass-digest-unsubscribe@welovegod.org

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----------------------------------------------------------------------

> ATTACHMENT part 2 message/rfc822
Date: Sun, 26 Oct 2003 04:33:25 -0800
From: Tim Warstler <RACNBASS@PE.NET>
To: churchbass@welovegod.org
Subject: [PRAYER REQUEST] SoCal Wildfires

In short, we have over 30,000 acres currently burning out of control
here in SoCal. Tonight's 11:00 news reported two elderly men
burned to
death in their houses and over 250 homes lost, 225 of those just in the
last few hours. These fires appear to be intentionally started by an
arsonist.
The SoCal CB contingent and their families and property look to be safe,
however, one of the fires may be very close to Kyle Gross' home in the
northern SAn Fernando Valley area. The Reche Canyon fire, which was
contained Thursday, missed me by about a mile, but four families lost
their homes there.
We have also have experienced record high temperatures (at or above 100
degrees farenheight) all this week and the hot/dry/strong Santa Ana
winds are starting to kick up.
Please, if you would, lift these in prayer. Not only for the safety of
those on our list, but also for those that have suffered such deep, deep
losses, as well as for the safety of those fighting these fires.
A sudden rainstorm would be a *VERY* welcomed gift from God !
In Him,
Tim

> ATTACHMENT
part 3 message/rfc822
From: "Ken Dale" <KENDALE@CHARTER.NET>
To: <CHURCHBASS@ASSOCIATE.COM>
Date: Sun, 26 Oct 2003 06:01:27 -0800
Subject: [ChurchBass] [GATHERING]? Christian Musician's Summit

>I'm wondering who is going to the Christian Musician's Summit in Tacoma
in November?

I'm planning on being there, along with a small contingent from my church.
I'm hoping for a sushi hang Friday night with you fellow churchbass players
and praying for good driving conditions over the mountain passes Saturday
night after Keagy so I can safely make it back for Sunday morning's early
service.

Anyone know where a decent sushi bar (not too far from the venue) is?

> ATTACHMENT part 4 message/rfc822
To: churchbass@welovegod.org
From: Peter Sharp <PSHARP@AU1.IBM.COM>
Date: Mon, 27 Oct 2003 08:20:11 +1100
Subject: Re: [GEAR] Stretch tuning (Was: Buzz Feiten...) (REPLY)

I said:
>Maybe the
piano tuner was tuning to concert pitch (A=444 I think). If I
>dig into my memory archives, I think the usual A=440 might be called
studio
>pitch.

Dave said:
>Since 1939, concert pitch has been officially 440 Hz. I know that many
>orchestras now routinely tune sharper, but I didn't think the formal
>definition had changed?

I wouldn't think anything has changed, just my memory is garbled. I do
recall there being 2 different 'official' pitch tunings, maybe I just got
them in the wrong order ...

>Whatever, it's still frustrating and he'd been asked to tune to 440, which
>he plainly didn't. So, we're now looking for another piano tuner in
>the Toronto area...
>
>Dave

Frustrating indeed! As others have said, we just tune to each other. I've
also seen tuners (don't have one) on which you can set A=440 or another
frequency through a range of frequencies.

God bless,
Peter
Sharp
Ballarat Australia

> ATTACHMENT part 5 message/rfc822
From: "Chetin Basaran" <BANDADDIE@HOTMAIL.COM>
To: churchbass@welovegod.org
Date: Sun, 26 Oct 2003 18:08:09 -0500
Subject: Re: [ChurchBass] Re: [GEAR] Stretch tuning (Was: Buzz Feiten...) (REPLY)

>From: Peter Sharp <PSHARP@AU1.IBM.COM>

>Frustrating indeed! As others have said, we just tune to each other. I've
>also seen tuners (don't have one) on which you can set A=440 or another
>frequency through a range of frequencies.

In every band in which i have played, I was the only person to routinely
keep a tuner in possession and actually use it. My Boss TU-2 is set for 440,
and everyone else tunes off me. This is how we do it now, except with the
tuner set for 440, it's DGCF. We nevered tried the double flat setting.

OH, I feel so used. (sniff)

No attempt is made to tune to the church's grand piano. The tuner stated,
after
recieving large cheque, it can not be properly tuned from the start
owing to salt air and high humidity.

etin Basaran
**** **** **** ****
"vocatus atque non vocatus deus aderit"

_________________________________________________________________
Add MSN 8 Internet Software to your current Internet access and enjoy
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> ATTACHMENT part 6 message/rfc822
Date: Sun, 26 Oct 2003 14:24:03 -0800 (PST)
From: Clavin Bast <TINCANPULLER@YAHOO.COM>
To: churchbass@welovegod.org
Subject: Re: [ChurchBass] Hertz so bad

--- Peter Sharp <PSHARP@AU1.IBM.COM>wrote:
>
>
>
>
> I said:
> >Maybe the piano tuner was tuning to concert pitch
> (A=444 I think). If I
> >dig into my memory archives, I think the usual
> A=440 might be called
> studio
> >pitch.
>
>
Dave said:
> >Since 1939, concert pitch has been officially 440
> Hz.

But does that take into account inflation? A Hz just
doesn't go as far as it used to.

And how about in Canada? Wouldn't the exchange rate
diminish a good old 440 to something like 336.67 hz?

=====
A house is a place
where you keep your
stuff while you go
out and buy more stuff

__________________________________
Do you Yahoo!?
Exclusive Video Premiere - Britney Spears
launch.yahoo.com/promos/britneyspears/

> ATTACHMENT part 7 message/rfc822
From: "Chetin Basaran" <BANDADDIE@HOTMAIL.COM>
To: churchbass@welovegod.org
Date: Sun, 26 Oct 2003 18:13:16 -0500
Subject: Re: [ChurchBass] Hertz so bad

>From: Clavin Bast <TINCANPULLER@YAHOO.COM>

>But does that take into account inflation? A Hz just
>doesn't go as far as it used to.

Not in my band. We have D-flation.

>And how about
in Canada? Wouldn't the exchange rate
>diminish a good old 440 to something like 336.67 hz?

One would need a calculator of magnitude to tune in Japan, if one had a yen
to try it.

etin Basaran
**** **** **** ****
"vocatus atque non vocatus deus aderit"

_________________________________________________________________
Concerned that messages may bounce because your Hotmail account has exceeded
its 2MB storage limit? Get Hotmail Extra Storage!
join.msn.com/?PAGE=features/es

> ATTACHMENT part 8 message/rfc822
Date: Sun, 26 Oct 2003 16:24:30 -0800
To: churchbass@welovegod.org
From: Lou Syracuse <LSYRACUSE@COX.NET>
Subject: {PRAYER} - San Diego fires

There are several LARGE fires burning in the San Diego area right
now. One of the fire lines is 25 MILES (or 40 Kilometers) running
east/west in the north county. My family and I are fine; I haven't seen
a post from fellow Churchbasser
Dan Knowlton but I know where his family
lives and he should be safe as well. My sister Nancy was watching the news
from a friends house and saw several houses near hers burning. Her home
and everything they own is almost certainly gone.

Please keep this people and the firefighters in your prayers... it is going
to be a while before firefighters can get a handle on things, as everything
is so dry and the wind is blowing. Could be days. 🙁

Brother Lou

> ATTACHMENT part 9 message/rfc822
From: "Chetin Basaran" <BANDADDIE@HOTMAIL.COM>
To: churchbass@welovegod.org
Date: Sun, 26 Oct 2003 19:41:07 -0500
Subject: Re: [ChurchBass] {PRAYER} - San Diego fires

>From: Lou Syracuse <LSYRACUSE@COX.NET>

>Please keep this people and the firefighters in your prayers... it is going
>to be a while before firefighters can get a handle on things, as everything
>is so dry and the wind is blowing. Could
be days. 🙁

My university intership had me sent to fight forest fires. Seen 'em up close
and in person. very scary.
you have many prayers from here, in english and turkish.

etin Basaran
**** **** **** ****
"vocatus atque non vocatus deus aderit"

_________________________________________________________________
Send instant messages to anyone on your contact list with MSN Messenger
6.0. Try it now FREE! msnmessenger-download.com

> ATTACHMENT part 10 message/rfc822
To: churchbass@welovegod.org
Date: Sun, 26 Oct 2003 16:37:13 -0800
From: Walt Everly <WJELB75TRB5@JUNO.COM>
Subject: Just when you thought no one understood...

The following is from Time Magazine's article on the new Walt Disney Concert Hall for the LA Philharmonic:

'Maybe the most important test of a hall's acoustics is in its ability to transmit bass resonance. "The sound on which the rest of the orchestra's sonority can rest", is what [Musical Director, Esa-Pekka] Salonen calls it. In June, he says, when the full orchestra first tried out the place in a rehearsal of Mozart's Jupiter Symphony, "the bass players all had this mad grin on their faces." [Architect Frank] Gehry was sitting out in the auditorium. "One of the bass players looked at me," the architect says, "and gave me this big thumbs up. That's when I knew it was all O.K." '

If any of you Southern Californians get a chance to verify this for yourselves, let us know what you think.

Blessings all,

Walt

> ATTACHMENT part 11 message/rfc822
From: "Gene Simons" <ESQ53@EARTHLINK.NET>
To: <CHURCHBASS@ASSOCIATE.COM>
Date: Sun, 26 Oct 2003 21:07:56 -0800
Subject: RE: [ChurchBass] Just when you thought no one understood...

<LINK href="cid:filelist.xml@01C39C05.3A085520" rel=File-List>

st1:*{behavior:url(#default#ieooui) }



I had jury duty out there a year or so ago and watched them building that thing it really is incredible. One of the other bass players at my church has been doing some electrical work there and said that its really amazing inside I dont know when Ill get out there for a concert

gs

*****************************************

Gene Simons - esq53@earthlink.net

Everyone lives life on the edge, some just have better balance.

*****************************************

-----Original Message-----
From: Walt Everly [mailto:wjelb75trb5@juno.com]
Sent: Sunday, October 26, 2003 4:37 PM
To: churchbass@welovegod.org
Subject: [ChurchBass] Just when you thought no one understood...

The following is from Time Magazine's article on the new Walt Disney Concert Hall for the LA Philharmonic:

'Maybe the most important test of a hall's acoustics is in its ability to transmit bass resonance. "The sound on which the rest of the orchestra's sonority can rest", is what [Musical Director, Esa-Pekka] Salonen calls it. In June, he says, when the full orchestra first tried out the place in a rehearsal of Mozart's Jupiter Symphony, "the bass players all had this mad grin on their faces." [Architect Frank] Gehry was sitting out in the auditorium. "One of the bass players looked at me," the architect says, "and gave me this big thumbs up. That's when I knew it was all O.K." '

If any of you Southern Californians get a chance to verify this for yourselves, let us know what you think.

Blessings all,

Walt

> ATTACHMENT part 12 message/rfc822
From: "Claude Ingersoll" <CWSTAIRS@CHARTER.NET>
To: <CHURCHBASS@ASSOCIATE.COM>
Date: Sun, 26 Oct 2003 16:55:04 -0800
Subject: [music] Reading lesson needed

<LINK href="cid:filelist.xml@01C39BE1.E6D017D0" rel=File-List>



I just got handed a part written out note for note, except part way through the composer (a friend of mine) just wrote 4 vertical lines in each measure (which is in 4/4) and wrote chords over the bar, like what Im used to EXCEPT one of the chords says D then a triangle, then 9. Im pretty clear on what to do with the D and its 9^th, but what does the triangle mean? Im thinking 5^th, but I dont want to ask him cause then hell know what an ear playin loser I really am!! Really, Ill ask him, but I would rather have a bass players explanation than a jazz infested sax player at this point. Please make it as simple as possible remember, there are only 5 strings on a bass just to make it easier.

Claude

At some point, every generation must accept that their day of dominance is passing. They neednt accept lesser standards from the rising vanguard, but they must understand that there will always be different methods and varied means in expressing praise and worship to the Lord.

> ATTACHMENT part 13 message/rfc822
Date: Sun, 26 Oct 2003 17:13:47 -0800
From: Erin Anne Beirne <ERINANNE@SHAW.CA>
To: churchbass@welovegod.org
Subject: Re: [ChurchBass] [music] Reading lesson needed

the triangle means "Major Seventh" (DMaj7: D, F#, A, C#)

have fun!

e/
On Sunday, October 26, 2003, at 04:55 PM, Claude Ingersoll wrote:

> one of the chords says D then a triangle, then 9. Im pretty clear on
> what to do with the D and its 9th, but what does the triangle mean?

> ATTACHMENT part 14 message/rfc822
From: "Rik Osborne" <RDO@PHASE42.NET>
To: <CHURCHBASS@ASSOCIATE.COM>
Date: Sun, 26 Oct 2003 17:18:48 -0800
Subject: Re: [ChurchBass] [music] Reading lesson needed

On Sun, 26 Oct 2003 16:55:04 -0800, Claude Ingersoll spake thusly:

>D then a triangle,
then 9

Maybe the triangle is supposed to be a circle, which would make it a "D
diminished 9th" chord. I've never seen a triangle in a chord notation.

--
Rik Osborne
<RDO@PHASE42.NET>
<HTTP: www.phase42.net />

"History is the version of past events that people have decided to agree
upon." -- Napoleon Bonaparte

> ATTACHMENT part 15 message/rfc822
Date: Sun, 26 Oct 2003 17:35:11 -0800
From: Erin Anne Beirne <ERINANNE@SHAW.CA>
To: churchbass@welovegod.org
Subject: Re: [ChurchBass] [music] Reading lesson needed

The triangle is an old (and now deemed "improper" but still used) jazz
shorthand notation. My teacher uses it a lot, but is trying to break
the habit. He was trained in the '50s and '60s. It sure is a lot
faster to write than Maj on everything so I often cheat and use it
myself on my own work, but convert it for stuff I'm giving out.

e/

On Sunday, October 26, 2003, at 05:18 PM,
Rik Osborne wrote:

>> D then a triangle, then 9
>
> Maybe the triangle is supposed to be a circle, which would make it a "D
> diminished 9th" chord. I've never seen a triangle in a chord notation.

> ATTACHMENT part 16 message/rfc822
From: "famkan" <FAMKAN@BAREKOALA.NET>
To: <CHURCHBASS@ASSOCIATE.COM>
Date: Mon, 27 Oct 2003 09:38:29 +0800
Subject: Re: [ChurchBass] [music] Reading lesson needed

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Hey Claude,

the triangle is a "standard notation" thingy for the major triad - 1 3 5. When combined with the 9 in this case, it also implies the major seventh - 1 3 5 7 9. If the tringle were not there, it would imply a dominant ninth chord - 1 3 5 b7 9.

So, applying to your D chord: (I'm using a lowercase "t" to indicate the triangle)

Dt = D = D F# A

Dt7 = D F# A C#

Dt9 = D F# A C# E

as opposed to:

D7 = D F# A C

D9 = D F# A C E

A subtle, but important difference. I hope this helps

tc&gb pk

ps. the wonderful thing about standards is that everybody can have one of their own..

pps. who actually said that??

----- Original Message -----

From: <A title=cwstairs@charter.net href="mailto:cwstairs@charter.net">Claude Ingersoll

To: <A title=churchbass@welovegod.org href="mailto:churchbass@welovegod.org">churchbass@welovegod.org

Sent: Monday, October 27, 2003 8:55 AM

Subject: [ChurchBass] [music] Reading lesson needed

I just got handed a part written out note for note, except part way through the composer (a friend of mine) just wrote 4 vertical lines in each measure (which is in 4/4) and wrote chords over the bar, like what Im used to EXCEPT one of the chords says D then a triangle, then 9. Im pretty clear on what to do with the D and its 9^th, but what does the triangle mean? Im thinking 5^th, but I dont want to ask him cause then hell know what an ear playin loser I really am!! Really, Ill ask him, but I would rather have a bass players explanation than a jazz infested sax player at this point. Please make it as simple as possible remember, there are only 5 strings on a bass just to make it easier.

Claude

At some point, every generation must accept that their day of dominance is passing. They neednt accept lesser standards from the rising vanguard, but they must understand that there will always be different methods and varied means in expressing praise and worship to the Lord.

> ATTACHMENT part 17 message/rfc822
From: "Wulf Forrester-Barker" <WULF@WEB-DEN.ORG.UK>
To: churchbass@welovegod.org
Date: Mon, 27 Oct 2003 07:50:00 -0000
Subject: Re: [ChurchBass] [music] Reading lesson needed

Erin <ERINANNE@SHAW.CA>wrote:

> The triangle is an old (and now deemed "improper" but still
> used) jazz shorthand notation. My teacher uses it a lot,
> but is trying to break the habit. He was trained in the
> '50s and '60s...

Is it improper? Mark Levine, in the 'Jazz Theory
Workbook' (Sher, 1995) gives wide range of ways of
notating a major 7 chord, including a triangle (which I
can't do in ASCII) and:

Cmaj7
CM7
C6
C9/6 (the 9 is directly above the 6, like a fraction)

He also notes that C6 is normally read as synonymous
with Cmaj7 in
contemporary jazz stylings, except where
the melody contains the appropriate sixth (A in the case
of C major) and that even without the 7th given explicitly,
the triangle generally implies the seventh (which is the
standard he adopts for his book).

Personally, I tend to use maj7 online (when bound by
ASCII, such as here) and triangle7 when I'm writing things
out by hand or using PrintMusic. I wasn't aware that
anyone regarded it as old or improper but I'd be interested
in hearing the arguments against it.

As an aside, Levine also gives several variants for minor
seventh chords:

C-7
Cm7
Cmi7

He prefers the first one - I'm more used to using m7 and I
can't think of many occasions where I've seen mi7.

His summary is:

"There is no one single set of standard chord symbols.
The lack of a universally agreed-upon set of symbols is
not a bad thing at all. Jazz is a living, breathing, growing,

constantly evolving art, and its changing terminology
reflects this."

Wulf

--
Wulf Forrester-Barker </ <
NB. new preferred address: wulf@web-den.org.uk
[wulf@bcs.org.uk will stop working shortly]
Website: www.web-den.org.uk/

> ATTACHMENT part 18 message/rfc822
Date: Mon, 27 Oct 2003 00:49:08 -0800
From: Erin Anne Beirne <ERINANNE@SHAW.CA>
To: churchbass@welovegod.org
Subject: [ChurchBass] [music] Reading lesson needed

On Sunday, October 26, 2003, at 11:50 PM, Wulf Forrester-Barker wrote:

Quote from Mark Levine:
> "There is no one single set of standard chord symbols.
> The lack of a universally agreed-upon set of symbols is
> not a bad thing at all. Jazz is a living, breathing, growing,
> constantly evolving art, and its changing terminology
> reflects this."

I like Mark Levine's attitude. Heard that his book is a good one, but
haven't got it yet. It's on the
"one of these days" list...

Yes, I've read in multiple sources (don't have references handy, it's
12:30 am and, well, I shouldn't be up, but I'll look later), that use
of the triangle is improper or incorrect. I was most disappointed when
I read that. Personally, I like it - it's easy and is very
distinguishable from other information without thought - a triangle is
very distinct from an "m", for instance.

My old Real Book (illegal?) uses the C-7 version of minor notation, and
my Sher Real Books series uses Cmi7 version of notation, while my Hal
Leonard Ultimate Jazz Fakebook uses the Cm7 variation of minor
notation. I like the C-7 best - same reason as the triangle. No
peering required, chord type is instantly obvious. Again, sadly, I
read that this is considered improper.

Maybe it's the typesetters that don't like the symbols!

Guess I'm a rebel. Of course, I also use a Mac. (Oh! Bad! Bad! Bad!
No, don't start
that again... bad girl...) Enough said on that.

My instructor also made it clear from his sources of knowledge that the
symbols are out-moded - and then uses them anyway. Gotta like that
style. Again, I like what you quoted from Mark Levine's book.

However, I suppose that having some degree of consistency of notation
across regions and styles is a good idea, however. That's what the
history of music is full of, after all, isn't it? Development of a
style, then figuring out a way to write it down so that different
people in different places and across the ages can learn to play/sing
it the same way... and then work together easily... Somehow trying to
figure out those old fancy square notes, or the 13 line (have I got the
count right?) stave without clefs is something I don't even want to try
to learn....

I'll go to the library and find the most recent book I was reading that
made it very clear that the symbolic methods
are uncool, and I'll
rummage in my other books to see what I can find. It's a while since I
cared about that subject! Good to go digging again.

🙂

e/

> ATTACHMENT part 19 message/rfc822
From: "Wulf Forrester-Barker" <WULF@WEB-DEN.ORG.UK>
To: churchbass@welovegod.org
Date: Mon, 27 Oct 2003 09:27:03 -0000
Subject: Re: [ChurchBass] [music] Reading lesson needed

Erin <ERINANNE@SHAW.CA>replied:

> My old Real Book (illegal?) uses the C-7 version of minor
> notation, and my Sher Real Books series uses Cmi7 version of
> notation...

Talk about not seeing what's in front of your nose. I've had
the Sher New Real Book for longer than I've had Levine's
work, and as you say, that uses Cmi7 for minor seventh.
I guess that tells you a lot about my powers of
observation (I'm pretty sure all the worship books I've got
use Cm7 if that makes up for it...).

Double checking, I also noticed
that the New Real Book
uses Cma7 for major sevenths - an option that wasn't on
the Levine list. If I know what the symbol means, I guess
it's done it's job in communicating to me - providing a
clear legend to help with interpretation is, I think, much
more important than trying to figure out which set of
marks is nearest to 'the standard' 😉

> I'll go to the library and find the most recent book I was
> reading that made it very clear that the symbolic methods
> are uncool, and I'll rummage in my other books to see what I
> can find. It's a while since I cared about that subject!
> Good to go digging again.

I'd definitely be interested - I think the lesson, again, is
that old chestnut... just because you hear it / read it in a
book / find it on the internet doesn't mean it's
unequivocally authoritative. Truth seekers have got to
work a bit harder than just accepting the first thing they
read
😉

Wulf

ps. I bet I'm now doomed to see Xmi7 everywhere I look,
having said that it was the one I'd hardly seen at all...

--
Wulf Forrester-Barker </ <
NB. new preferred address: wulf@web-den.org.uk
[wulf@bcs.org.uk will stop working shortly]
Website: www.web-den.org.uk/

> ATTACHMENT part 20 message/rfc822
From: "Bradley Link" <SUITABLEMONIKER@SBCGLOBAL.NET>
To: "Churchbass" <CHURCHBASS@CCAD.UIOWA.EDU>
Date: Sun, 26 Oct 2003 21:02:44 -0500
Subject: [GEAR]

Hello all. I have a fender jazz (mexican). I absolutely love the bass.
However, I am interested in changing out a J pickup in favor of a P pickup.
Does anyone know if this can be done? If it can be done...any suggestions?

Thanks all.
Bradley
www.rocksidechurch.com

> ATTACHMENT part 21 message/rfc822
From: "Andrew Jackson-Smith" <SMITHDL@SYMPATICO.CA>
To: <CHURCHBASS@ASSOCIATE.COM>
Date: Mon, 27 Oct 2003
01:18:43 -0500
Subject: Re: [ChurchBass] [GEAR] Good compressor

----- Original Message -----

From: <A title=mmiller@prezbass.com href="mailto:mmiller@prezbass.com">Marc Miller

To: <A title=churchbass@welovegod.org href="mailto:churchbass@welovegod.org">churchbass@welovegod.org

Sent: Saturday, October 25, 2003 8:33 PM

Subject: RE: [ChurchBass] [GEAR] Good compressor

> And where would it best fit in the signal chain?

This is kind of a matter of personal taste, but I never run a compressor in
the effect loop. I run my bass into the input of the compressor, and the
output of the compressor goes to the input of my amp. I know that many
don't do it that way, but this is what works best for me.

-Marc Miller
mmiller@prezbass.com
http://www.prezbass.com

Why is that Marc?

Drew

> ATTACHMENT part 22 message/rfc822
From: "Dennis Weatherly" <JDWXLY@GTE.NET>
To: <CHURCHBASS@ASSOCIATE.COM>
Date: Sun, 26 Oct 2003 22:26:01 -0800
Subject: RE: [ChurchBass] [GEAR] Good compressor

Marc suggested:
> 1. DBX 163X Over-Easy
> 2. Carl Martin compressor
> 3. EBS MultiComp

Marc, didn't you try a PreSonus BlueMax compressor recently? How does that
stack up to your list of choices?
--
Dennis Weatherly jdwxly@gte.net
Wilsonville, Oregon USA

> ATTACHMENT part 23 message/rfc822
From: "Andrew Jackson-Smith" <SMITHDL@SYMPATICO.CA>
To: <CHURCHBASS@ASSOCIATE.COM>
Date: Mon, 27 Oct 2003 01:26:47 -0500
Subject: Re: [ChurchBass] {GEAR} Compressors and crying

Ace, that unit was the Alesis Nanocompressor...nice little unit, I used it for 2 months before I discovered the dbx 266XL, found it much better for bass. A dual compressor would be nice though ... (*passes GAS*)

Drew

----- Original Message -----

From: <A title=AcesThumpBass@aol.com href="mailto:AcesThumpBass@aol.com">AcesThumpBass@aol.com

To: <A title=churchbass@welovegod.org href="mailto:churchbass@welovegod.org">churchbass@welovegod.org

Sent: Sunday, October 26, 2003 12:25 AM

Subject: [ChurchBass] {GEAR} Compressors and crying

Once, I tried switching back to the old tried and true DBX 163 - Still okay for what it is, just not enough variation for slap style playing. So, I switched to an Alesis Micro compressor. Actual name? I just know that it is the 3/4 rack deal. I was very happy with the Alesis until I switched back to a Trace Elliot SMX head. The Trace Dual compressor (comps the High and Low side separately) is easily the best comp that I have used for bass, live and studio. If you can find the old discontinued SMX Dual Compressor pedal for bass, you will have something very cool and useful. The pedal also offers the EQ knob, which will allow you to go from a DUB Reggae sound to a Chris Squire, early Yes, Rickenbacker type of tone, with the turn of a single knob.

> ATTACHMENT part 24 message/rfc822
From: "Wulf Forrester-Barker" <WULF@WEB-DEN.ORG.UK>
To:
churchbass@welovegod.org
Date: Mon, 27 Oct 2003 07:35:49 -0000
Subject: [ChurchBass] {GEAR} P in a J

Bradley <SUITABLEMONIKER@SBCGLOBAL.NET>mentioned:

> Hello all. I have a fender jazz (mexican). I absolutely
> love the bass. However, I am interested in changing out a J
> pickup in favor of a P pickup. Does anyone know if this can
> be done? If it can be done...any suggestions?

If you love the bass as it is, I'd tend to stay away from
doing that for various reasons:

1. As I recall, one of the functions of twin J-type pickups
is to cancel unnecessary noise in the circuit. A P-type
pickup will do this on it's own but the remaining J pickup
will then have nothing to cancel the noise in it's signal.
There are solutions (eg. replacement J pickup designed
to be quiet on its own) but that means you have to buy
two new pickups.

2. You'll need to rout the body to fit the P pickup. If you
don't like
it, you can't easily go back without visible
damage.

3. As I recall, the differences between P and J basses go
further than the pickups - eg. the feel of the neck, body
shape and control layout. You won't transform the bass
to a Precision by turning off the J pickup.

Therefore, it's a potentially expensive and irrevocable
modification that will permanently alter you bass.
Especially when you figure in the risk that it might all go
pear shaped, I wonder if you might not be better off just
buying a P bass or one that comes designed with a PJ
configuration. Two basses (even if one of them is a cheap
P copy) might be a bit more awkward to lug around but
are otherwise a flexible and reliable solution - going for a
single 'frankenbass' is a much more risky investment!

Wulf

--
Wulf Forrester-Barker </ <
NB. new preferred address: wulf@web-den.org.uk
[wulf@bcs.org.uk will stop working shortly]
Website:
www.web-den.org.uk/

> ATTACHMENT part 25 message/rfc822
Date: Mon, 27 Oct 2003 01:28:50 -0800
From: Tim Warstler <RACNBASS@PE.NET>
To: churchbass@welovegod.org
Subject: [PRAYER REQUEST] SoCal fires update

As of 11:00pm, Sunday, 10/26, the toll from the combined San Diego,
Inland Empire and Simi Valley fires is 36 lives and almost 900 homes
lost, over 800 homes were lost in less than a 24 hour period. Santa Ana
winds are expected to last until Wednesday afternoon, but have subsided
a bit this evening. The fires are continuing to rage out of conrol. LAX
is so thickly enshrouded in smoke that it looks like it is in a thick
fog. The west coast air traffic control facility in San Diego has been
closed down, so all commercial air travel has been halted. Please
continue to pray...
In Him,
Tim

Do you Yahoo!?

Exclusive Video Premiere - Britney Spears

Posted by: jason_a_weaver <jason_a_weaver@...>

This new digest in so confusing. It puts everything in an order by heading in the TOC, then it is in regualr order in the digest. They refer to the emails as 201, 202, & 203 but don't put that label on them in the digest. I would rather not have the digest, and at the bottom of my digests is a link to 'unsubscribe digest'. Does this mean I will ONLY unsub from the digest, or does it mean that I will unsub form the list? I do NOT want to do that, and if I did I am not sure how to get back on here.

Any help would be great!

Thanks,

Jason

churchbass-digest-help@welovegod.org wrote:

churchbass Digest 27 Oct 2003 10:00:19 -0000 Issue 11

Topics (messages 197 through 220):

[PRAYER REQUEST] SoCal Wildfires
197 by: Tim Warstler

[GATHERING]? Christian Musician's Summit
198 by: Ken Dale

Re: [GEAR] Stretch tuning (Was: Buzz Feiten...) (REPLY)
199 by: Peter Sharp
201 by: Chetin Basaran

Re: Hertz so bad
200 by: Clavin Bast
202 by: Chetin Basaran

{PRAYER} - San Diego fires
203 by: Lou Syracuse
205 by: Chetin Basaran

Just when you thought no one understood...
204 by: Walt Everly
212 by: Gene Simons

[music] Reading lesson needed
206 by: Claude Ingersoll
207 by: Erin Anne Beirne
208 by: Rik Osborne
209 by: Erin Anne Beirne
210 by: famkan
217 by: Wulf Forrester-Barker
218 by: Erin Anne Beirne
220 by: Wulf Forrester-Barker

[GEAR]
211 by: Bradley
Link

Re: [GEAR] Good compressor
213 by: Andrew Jackson-Smith
214 by: Dennis Weatherly

Re: {GEAR} Compressors and crying
215 by: Andrew Jackson-Smith

{GEAR} P in a J
216 by: Wulf Forrester-Barker

[PRAYER REQUEST] SoCal fires update
219 by: Tim Warstler

Administrivia:

To subscribe to the digest, e-mail:
churchbass-digest-subscribe@welovegod.org

To unsubscribe from the digest, e-mail:
churchbass-digest-unsubscribe@welovegod.org

To post to the list, e-mail:
churchbass@welovegod.org

----------------------------------------------------------------------

> ATTACHMENT part 2 message/rfc822
Date: Sun, 26 Oct 2003 04:33:25 -0800
From: Tim Warstler <RACNBASS@PE.NET>
To: churchbass@welovegod.org
Subject: [PRAYER REQUEST] SoCal Wildfires

In short, we have over 30,000 acres currently burning out of control
here in SoCal. Tonight's 11:00 news reported two elderly men
burned to
death in their houses and over 250 homes lost, 225 of those just in the
last few hours. These fires appear to be intentionally started by an
arsonist.
The SoCal CB contingent and their families and property look to be safe,
however, one of the fires may be very close to Kyle Gross' home in the
northern SAn Fernando Valley area. The Reche Canyon fire, which was
contained Thursday, missed me by about a mile, but four families lost
their homes there.
We have also have experienced record high temperatures (at or above 100
degrees farenheight) all this week and the hot/dry/strong Santa Ana
winds are starting to kick up.
Please, if you would, lift these in prayer. Not only for the safety of
those on our list, but also for those that have suffered such deep, deep
losses, as well as for the safety of those fighting these fires.
A sudden rainstorm would be a *VERY* welcomed gift from God !
In Him,
Tim

> ATTACHMENT
part 3 message/rfc822
From: "Ken Dale" <KENDALE@CHARTER.NET>
To: <CHURCHBASS@ASSOCIATE.COM>
Date: Sun, 26 Oct 2003 06:01:27 -0800
Subject: [ChurchBass] [GATHERING]? Christian Musician's Summit

>I'm wondering who is going to the Christian Musician's Summit in Tacoma
in November?

I'm planning on being there, along with a small contingent from my church.
I'm hoping for a sushi hang Friday night with you fellow churchbass players
and praying for good driving conditions over the mountain passes Saturday
night after Keagy so I can safely make it back for Sunday morning's early
service.

Anyone know where a decent sushi bar (not too far from the venue) is?

> ATTACHMENT part 4 message/rfc822
To: churchbass@welovegod.org
From: Peter Sharp <PSHARP@AU1.IBM.COM>
Date: Mon, 27 Oct 2003 08:20:11 +1100
Subject: Re: [GEAR] Stretch tuning (Was: Buzz Feiten...) (REPLY)

I said:
>Maybe the
piano tuner was tuning to concert pitch (A=444 I think). If I
>dig into my memory archives, I think the usual A=440 might be called
studio
>pitch.

Dave said:
>Since 1939, concert pitch has been officially 440 Hz. I know that many
>orchestras now routinely tune sharper, but I didn't think the formal
>definition had changed?

I wouldn't think anything has changed, just my memory is garbled. I do
recall there being 2 different 'official' pitch tunings, maybe I just got
them in the wrong order ...

>Whatever, it's still frustrating and he'd been asked to tune to 440, which
>he plainly didn't. So, we're now looking for another piano tuner in
>the Toronto area...
>
>Dave

Frustrating indeed! As others have said, we just tune to each other. I've
also seen tuners (don't have one) on which you can set A=440 or another
frequency through a range of frequencies.

God bless,
Peter
Sharp
Ballarat Australia

> ATTACHMENT part 5 message/rfc822
From: "Chetin Basaran" <BANDADDIE@HOTMAIL.COM>
To: churchbass@welovegod.org
Date: Sun, 26 Oct 2003 18:08:09 -0500
Subject: Re: [ChurchBass] Re: [GEAR] Stretch tuning (Was: Buzz Feiten...) (REPLY)

>From: Peter Sharp <PSHARP@AU1.IBM.COM>

>Frustrating indeed! As others have said, we just tune to each other. I've
>also seen tuners (don't have one) on which you can set A=440 or another
>frequency through a range of frequencies.

In every band in which i have played, I was the only person to routinely
keep a tuner in possession and actually use it. My Boss TU-2 is set for 440,
and everyone else tunes off me. This is how we do it now, except with the
tuner set for 440, it's DGCF. We nevered tried the double flat setting.

OH, I feel so used. (sniff)

No attempt is made to tune to the church's grand piano. The tuner stated,
after
recieving large cheque, it can not be properly tuned from the start
owing to salt air and high humidity.

etin Basaran
**** **** **** ****
"vocatus atque non vocatus deus aderit"

_________________________________________________________________
Add MSN 8 Internet Software to your current Internet access and enjoy
patented spam control and more. Get two months FREE!
join.msn.com/?page=dept/byoa

> ATTACHMENT part 6 message/rfc822
Date: Sun, 26 Oct 2003 14:24:03 -0800 (PST)
From: Clavin Bast <TINCANPULLER@YAHOO.COM>
To: churchbass@welovegod.org
Subject: Re: [ChurchBass] Hertz so bad

--- Peter Sharp <PSHARP@AU1.IBM.COM>wrote:
>
>
>
>
> I said:
> >Maybe the piano tuner was tuning to concert pitch
> (A=444 I think). If I
> >dig into my memory archives, I think the usual
> A=440 might be called
> studio
> >pitch.
>
>
Dave said:
> >Since 1939, concert pitch has been officially 440
> Hz.

But does that take into account inflation? A Hz just
doesn't go as far as it used to.

And how about in Canada? Wouldn't the exchange rate
diminish a good old 440 to something like 336.67 hz?

=====
A house is a place
where you keep your
stuff while you go
out and buy more stuff

__________________________________
Do you Yahoo!?
Exclusive Video Premiere - Britney Spears
launch.yahoo.com/promos/britneyspears/

> ATTACHMENT part 7 message/rfc822
From: "Chetin Basaran" <BANDADDIE@HOTMAIL.COM>
To: churchbass@welovegod.org
Date: Sun, 26 Oct 2003 18:13:16 -0500
Subject: Re: [ChurchBass] Hertz so bad

>From: Clavin Bast <TINCANPULLER@YAHOO.COM>

>But does that take into account inflation? A Hz just
>doesn't go as far as it used to.

Not in my band. We have D-flation.

>And how about
in Canada? Wouldn't the exchange rate
>diminish a good old 440 to something like 336.67 hz?

One would need a calculator of magnitude to tune in Japan, if one had a yen
to try it.

etin Basaran
**** **** **** ****
"vocatus atque non vocatus deus aderit"

_________________________________________________________________
Concerned that messages may bounce because your Hotmail account has exceeded
its 2MB storage limit? Get Hotmail Extra Storage!
join.msn.com/?PAGE=features/es

> ATTACHMENT part 8 message/rfc822
Date: Sun, 26 Oct 2003 16:24:30 -0800
To: churchbass@welovegod.org
From: Lou Syracuse <LSYRACUSE@COX.NET>
Subject: {PRAYER} - San Diego fires

There are several LARGE fires burning in the San Diego area right
now. One of the fire lines is 25 MILES (or 40 Kilometers) running
east/west in the north county. My family and I are fine; I haven't seen
a post from fellow Churchbasser
Dan Knowlton but I know where his family
lives and he should be safe as well. My sister Nancy was watching the news
from a friends house and saw several houses near hers burning. Her home
and everything they own is almost certainly gone.

Please keep this people and the firefighters in your prayers... it is going
to be a while before firefighters can get a handle on things, as everything
is so dry and the wind is blowing. Could be days. 🙁

Brother Lou

> ATTACHMENT part 9 message/rfc822
From: "Chetin Basaran" <BANDADDIE@HOTMAIL.COM>
To: churchbass@welovegod.org
Date: Sun, 26 Oct 2003 19:41:07 -0500
Subject: Re: [ChurchBass] {PRAYER} - San Diego fires

>From: Lou Syracuse <LSYRACUSE@COX.NET>

>Please keep this people and the firefighters in your prayers... it is going
>to be a while before firefighters can get a handle on things, as everything
>is so dry and the wind is blowing. Could
be days. 🙁

My university intership had me sent to fight forest fires. Seen 'em up close
and in person. very scary.
you have many prayers from here, in english and turkish.

etin Basaran
**** **** **** ****
"vocatus atque non vocatus deus aderit"

_________________________________________________________________
Send instant messages to anyone on your contact list with MSN Messenger
6.0. Try it now FREE! msnmessenger-download.com

> ATTACHMENT part 10 message/rfc822
To: churchbass@welovegod.org
Date: Sun, 26 Oct 2003 16:37:13 -0800
From: Walt Everly <WJELB75TRB5@JUNO.COM>
Subject: Just when you thought no one understood...

The following is from Time Magazine's article on the new Walt Disney Concert Hall for the LA Philharmonic:

'Maybe the most important test of a hall's acoustics is in its ability to transmit bass resonance. "The sound on which the rest of the orchestra's sonority can rest", is what [Musical Director, Esa-Pekka] Salonen calls it. In June, he says, when the full orchestra first tried out the place in a rehearsal of Mozart's Jupiter Symphony, "the bass players all had this mad grin on their faces." [Architect Frank] Gehry was sitting out in the auditorium. "One of the bass players looked at me," the architect says, "and gave me this big thumbs up. That's when I knew it was all O.K." '

If any of you Southern Californians get a chance to verify this for yourselves, let us know what you think.

Blessings all,

Walt

> ATTACHMENT part 11 message/rfc822
From: "Gene Simons" <ESQ53@EARTHLINK.NET>
To: <CHURCHBASS@ASSOCIATE.COM>
Date: Sun, 26 Oct 2003 21:07:56 -0800
Subject: RE: [ChurchBass] Just when you thought no one understood...

<LINK href="cid:filelist.xml@01C39C05.3A085520" rel=File-List>

st1:*{behavior:url(#default#ieooui) }



I had jury duty out there a year or so ago and watched them building that thing it really is incredible. One of the other bass players at my church has been doing some electrical work there and said that its really amazing inside I dont know when Ill get out there for a concert

gs

*****************************************

Gene Simons - esq53@earthlink.net

Everyone lives life on the edge, some just have better balance.

*****************************************

-----Original Message-----
From: Walt Everly [mailto:wjelb75trb5@juno.com]
Sent: Sunday, October 26, 2003 4:37 PM
To: churchbass@welovegod.org
Subject: [ChurchBass] Just when you thought no one understood...

The following is from Time Magazine's article on the new Walt Disney Concert Hall for the LA Philharmonic:

'Maybe the most important test of a hall's acoustics is in its ability to transmit bass resonance. "The sound on which the rest of the orchestra's sonority can rest", is what [Musical Director, Esa-Pekka] Salonen calls it. In June, he says, when the full orchestra first tried out the place in a rehearsal of Mozart's Jupiter Symphony, "the bass players all had this mad grin on their faces." [Architect Frank] Gehry was sitting out in the auditorium. "One of the bass players looked at me," the architect says, "and gave me this big thumbs up. That's when I knew it was all O.K." '

If any of you Southern Californians get a chance to verify this for yourselves, let us know what you think.

Blessings all,

Walt

> ATTACHMENT part 12 message/rfc822
From: "Claude Ingersoll" <CWSTAIRS@CHARTER.NET>
To: <CHURCHBASS@ASSOCIATE.COM>
Date: Sun, 26 Oct 2003 16:55:04 -0800
Subject: [music] Reading lesson needed

<LINK href="cid:filelist.xml@01C39BE1.E6D017D0" rel=File-List>



I just got handed a part written out note for note, except part way through the composer (a friend of mine) just wrote 4 vertical lines in each measure (which is in 4/4) and wrote chords over the bar, like what Im used to EXCEPT one of the chords says D then a triangle, then 9. Im pretty clear on what to do with the D and its 9^th, but what does the triangle mean? Im thinking 5^th, but I dont want to ask him cause then hell know what an ear playin loser I really am!! Really, Ill ask him, but I would rather have a bass players explanation than a jazz infested sax player at this point. Please make it as simple as possible remember, there are only 5 strings on a bass just to make it easier.

Claude

At some point, every generation must accept that their day of dominance is passing. They neednt accept lesser standards from the rising vanguard, but they must understand that there will always be different methods and varied means in expressing praise and worship to the Lord.

> ATTACHMENT part 13 message/rfc822
Date: Sun, 26 Oct 2003 17:13:47 -0800
From: Erin Anne Beirne <ERINANNE@SHAW.CA>
To: churchbass@welovegod.org
Subject: Re: [ChurchBass] [music] Reading lesson needed

the triangle means "Major Seventh" (DMaj7: D, F#, A, C#)

have fun!

e/
On Sunday, October 26, 2003, at 04:55 PM, Claude Ingersoll wrote:

> one of the chords says D then a triangle, then 9. Im pretty clear on
> what to do with the D and its 9th, but what does the triangle mean?

> ATTACHMENT part 14 message/rfc822
From: "Rik Osborne" <RDO@PHASE42.NET>
To: <CHURCHBASS@ASSOCIATE.COM>
Date: Sun, 26 Oct 2003 17:18:48 -0800
Subject: Re: [ChurchBass] [music] Reading lesson needed

On Sun, 26 Oct 2003 16:55:04 -0800, Claude Ingersoll spake thusly:

>D then a triangle,
then 9

Maybe the triangle is supposed to be a circle, which would make it a "D
diminished 9th" chord. I've never seen a triangle in a chord notation.

--
Rik Osborne
<RDO@PHASE42.NET>
<HTTP: http://www.phase42.net />

"History is the version of past events that people have decided to agree
upon." -- Napoleon Bonaparte

> ATTACHMENT part 15 message/rfc822
Date: Sun, 26 Oct 2003 17:35:11 -0800
From: Erin Anne Beirne <ERINANNE@SHAW.CA>
To: churchbass@welovegod.org
Subject: Re: [ChurchBass] [music] Reading lesson needed

The triangle is an old (and now deemed "improper" but still used) jazz
shorthand notation. My teacher uses it a lot, but is trying to break
the habit. He was trained in the '50s and '60s. It sure is a lot
faster to write than Maj on everything so I often cheat and use it
myself on my own work, but convert it for stuff I'm giving out.

e/

On Sunday, October 26, 2003, at 05:18 PM,
Rik Osborne wrote:

>> D then a triangle, then 9
>
> Maybe the triangle is supposed to be a circle, which would make it a "D
> diminished 9th" chord. I've never seen a triangle in a chord notation.

> ATTACHMENT part 16 message/rfc822
From: "famkan" <FAMKAN@BAREKOALA.NET>
To: <CHURCHBASS@ASSOCIATE.COM>
Date: Mon, 27 Oct 2003 09:38:29 +0800
Subject: Re: [ChurchBass] [music] Reading lesson needed

<LINK href="cid:filelist.xml@01C39BE1.E6D017D0" rel=File-List>
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Hey Claude,

the triangle is a "standard notation" thingy for the major triad - 1 3 5. When combined with the 9 in this case, it also implies the major seventh - 1 3 5 7 9. If the tringle were not there, it would imply a dominant ninth chord - 1 3 5 b7 9.

So, applying to your D chord: (I'm using a lowercase "t" to indicate the triangle)

Dt = D = D F# A

Dt7 = D F# A C#

Dt9 = D F# A C# E

as opposed to:

D7 = D F# A C

D9 = D F# A C E

A subtle, but important difference. I hope this helps

tc&gb pk

ps. the wonderful thing about standards is that everybody can have one of their own..

pps. who actually said that??

----- Original Message -----

From: <A title=cwstairs@charter.net href="mailto:cwstairs@charter.net">Claude Ingersoll

To: <A title=churchbass@welovegod.org href="mailto:churchbass@welovegod.org">churchbass@welovegod.org

Sent: Monday, October 27, 2003 8:55 AM

Subject: [ChurchBass] [music] Reading lesson needed

I just got handed a part written out note for note, except part way through the composer (a friend of mine) just wrote 4 vertical lines in each measure (which is in 4/4) and wrote chords over the bar, like what Im used to EXCEPT one of the chords says D then a triangle, then 9. Im pretty clear on what to do with the D and its 9^th, but what does the triangle mean? Im thinking 5^th, but I dont want to ask him cause then hell know what an ear playin loser I really am!! Really, Ill ask him, but I would rather have a bass players explanation than a jazz infested sax player at this point. Please make it as simple as possible remember, there are only 5 strings on a bass just to make it easier.

Claude

At some point, every generation must accept that their day of dominance is passing. They neednt accept lesser standards from the rising vanguard, but they must understand that there will always be different methods and varied means in expressing praise and worship to the Lord.

> ATTACHMENT part 17 message/rfc822
From: "Wulf Forrester-Barker" <WULF@WEB-DEN.ORG.UK>
To: churchbass@welovegod.org
Date: Mon, 27 Oct 2003 07:50:00 -0000
Subject: Re: [ChurchBass] [music] Reading lesson needed

Erin <ERINANNE@SHAW.CA>wrote:

> The triangle is an old (and now deemed "improper" but still
> used) jazz shorthand notation. My teacher uses it a lot,
> but is trying to break the habit. He was trained in the
> '50s and '60s...

Is it improper? Mark Levine, in the 'Jazz Theory
Workbook' (Sher, 1995) gives wide range of ways of
notating a major 7 chord, including a triangle (which I
can't do in ASCII) and:

Cmaj7
CM7
C6
C9/6 (the 9 is directly above the 6, like a fraction)

He also notes that C6 is normally read as synonymous
with Cmaj7 in
contemporary jazz stylings, except where
the melody contains the appropriate sixth (A in the case
of C major) and that even without the 7th given explicitly,
the triangle generally implies the seventh (which is the
standard he adopts for his book).

Personally, I tend to use maj7 online (when bound by
ASCII, such as here) and triangle7 when I'm writing things
out by hand or using PrintMusic. I wasn't aware that
anyone regarded it as old or improper but I'd be interested
in hearing the arguments against it.

As an aside, Levine also gives several variants for minor
seventh chords:

C-7
Cm7
Cmi7

He prefers the first one - I'm more used to using m7 and I
can't think of many occasions where I've seen mi7.

His summary is:

"There is no one single set of standard chord symbols.
The lack of a universally agreed-upon set of symbols is
not a bad thing at all. Jazz is a living, breathing, growing,

constantly evolving art, and its changing terminology
reflects this."

Wulf

--
Wulf Forrester-Barker </ <
NB. new preferred address: wulf@web-den.org.uk
[wulf@bcs.org.uk will stop working shortly]
Website: http://www.web-den.org.uk/

> ATTACHMENT part 18 message/rfc822
Date: Mon, 27 Oct 2003 00:49:08 -0800
From: Erin Anne Beirne <ERINANNE@SHAW.CA>
To: churchbass@welovegod.org
Subject: [ChurchBass] [music] Reading lesson needed

On Sunday, October 26, 2003, at 11:50 PM, Wulf Forrester-Barker wrote:

Quote from Mark Levine:
> "There is no one single set of standard chord symbols.
> The lack of a universally agreed-upon set of symbols is
> not a bad thing at all. Jazz is a living, breathing, growing,
> constantly evolving art, and its changing terminology
> reflects this."

I like Mark Levine's attitude. Heard that his book is a good one, but
haven't got it yet. It's on the
"one of these days" list...

Yes, I've read in multiple sources (don't have references handy, it's
12:30 am and, well, I shouldn't be up, but I'll look later), that use
of the triangle is improper or incorrect. I was most disappointed when
I read that. Personally, I like it - it's easy and is very
distinguishable from other information without thought - a triangle is
very distinct from an "m", for instance.

My old Real Book (illegal?) uses the C-7 version of minor notation, and
my Sher Real Books series uses Cmi7 version of notation, while my Hal
Leonard Ultimate Jazz Fakebook uses the Cm7 variation of minor
notation. I like the C-7 best - same reason as the triangle. No
peering required, chord type is instantly obvious. Again, sadly, I
read that this is considered improper.

Maybe it's the typesetters that don't like the symbols!

Guess I'm a rebel. Of course, I also use a Mac. (Oh! Bad! Bad! Bad!
No, don't start
that again... bad girl...) Enough said on that.

My instructor also made it clear from his sources of knowledge that the
symbols are out-moded - and then uses them anyway. Gotta like that
style. Again, I like what you quoted from Mark Levine's book.

However, I suppose that having some degree of consistency of notation
across regions and styles is a good idea, however. That's what the
history of music is full of, after all, isn't it? Development of a
style, then figuring out a way to write it down so that different
people in different places and across the ages can learn to play/sing
it the same way... and then work together easily... Somehow trying to
figure out those old fancy square notes, or the 13 line (have I got the
count right?) stave without clefs is something I don't even want to try
to learn....

I'll go to the library and find the most recent book I was reading that
made it very clear that the symbolic methods
are uncool, and I'll
rummage in my other books to see what I can find. It's a while since I
cared about that subject! Good to go digging again.

🙂

e/

> ATTACHMENT part 19 message/rfc822
From: "Wulf Forrester-Barker" <WULF@WEB-DEN.ORG.UK>
To: churchbass@welovegod.org
Date: Mon, 27 Oct 2003 09:27:03 -0000
Subject: Re: [ChurchBass] [music] Reading lesson needed

Erin <ERINANNE@SHAW.CA>replied:

> My old Real Book (illegal?) uses the C-7 version of minor
> notation, and my Sher Real Books series uses Cmi7 version of
> notation...

Talk about not seeing what's in front of your nose. I've had
the Sher New Real Book for longer than I've had Levine's
work, and as you say, that uses Cmi7 for minor seventh.
I guess that tells you a lot about my powers of
observation (I'm pretty sure all the worship books I've got
use Cm7 if that makes up for it...).

Double checking, I also noticed
that the New Real Book
uses Cma7 for major sevenths - an option that wasn't on
the Levine list. If I know what the symbol means, I guess
it's done it's job in communicating to me - providing a
clear legend to help with interpretation is, I think, much
more important than trying to figure out which set of
marks is nearest to 'the standard' 😉

> I'll go to the library and find the most recent book I was
> reading that made it very clear that the symbolic methods
> are uncool, and I'll rummage in my other books to see what I
> can find. It's a while since I cared about that subject!
> Good to go digging again.

I'd definitely be interested - I think the lesson, again, is
that old chestnut... just because you hear it / read it in a
book / find it on the internet doesn't mean it's
unequivocally authoritative. Truth seekers have got to
work a bit harder than just accepting the first thing they
read
😉

Wulf

ps. I bet I'm now doomed to see Xmi7 everywhere I look,
having said that it was the one I'd hardly seen at all...

--
Wulf Forrester-Barker </ <
NB. new preferred address: wulf@web-den.org.uk
[wulf@bcs.org.uk will stop working shortly]
Website: http://www.web-den.org.uk/

> ATTACHMENT part 20 message/rfc822
From: "Bradley Link" <SUITABLEMONIKER@SBCGLOBAL.NET>
To: "Churchbass" <CHURCHBASS@CCAD.UIOWA.EDU>
Date: Sun, 26 Oct 2003 21:02:44 -0500
Subject: [GEAR]

Hello all. I have a fender jazz (mexican). I absolutely love the bass.
However, I am interested in changing out a J pickup in favor of a P pickup.
Does anyone know if this can be done? If it can be done...any suggestions?

Thanks all.
Bradley
http://www.rocksidechurch.com

> ATTACHMENT part 21 message/rfc822
From: "Andrew Jackson-Smith" <SMITHDL@SYMPATICO.CA>
To: <CHURCHBASS@ASSOCIATE.COM>
Date: Mon, 27 Oct 2003
01:18:43 -0500
Subject: Re: [ChurchBass] [GEAR] Good compressor

----- Original Message -----

From: <A title=mmiller@prezbass.com href="mailto:mmiller@prezbass.com">Marc Miller

To: <A title=churchbass@welovegod.org href="mailto:churchbass@welovegod.org">churchbass@welovegod.org

Sent: Saturday, October 25, 2003 8:33 PM

Subject: RE: [ChurchBass] [GEAR] Good compressor

> And where would it best fit in the signal chain?

This is kind of a matter of personal taste, but I never run a compressor in
the effect loop. I run my bass into the input of the compressor, and the
output of the compressor goes to the input of my amp. I know that many
don't do it that way, but this is what works best for me.

-Marc Miller
mmiller@prezbass.com
http://www.prezbass.com

Why is that Marc?

Drew

> ATTACHMENT part 22 message/rfc822
From: "Dennis Weatherly" <JDWXLY@GTE.NET>
To: <CHURCHBASS@ASSOCIATE.COM>
Date: Sun, 26 Oct 2003 22:26:01 -0800
Subject: RE: [ChurchBass] [GEAR] Good compressor

Marc suggested:
> 1. DBX 163X Over-Easy
> 2. Carl Martin compressor
> 3. EBS MultiComp

Marc, didn't you try a PreSonus BlueMax compressor recently? How does that
stack up to your list of choices?
--
Dennis Weatherly jdwxly@gte.net
Wilsonville, Oregon USA

> ATTACHMENT part 23 message/rfc822
From: "Andrew Jackson-Smith" <SMITHDL@SYMPATICO.CA>
To: <CHURCHBASS@ASSOCIATE.COM>
Date: Mon, 27 Oct 2003 01:26:47 -0500
Subject: Re: [ChurchBass] {GEAR} Compressors and crying

Ace, that unit was the Alesis Nanocompressor...nice little unit, I used it for 2 months before I discovered the dbx 266XL, found it much better for bass. A dual compressor would be nice though ... (*passes GAS*)

Drew

----- Original Message -----

From: <A title=AcesThumpBass@aol.com href="mailto:AcesThumpBass@aol.com">AcesThumpBass@aol.com

To: <A title=churchbass@welovegod.org href="mailto:churchbass@welovegod.org">churchbass@welovegod.org

Sent: Sunday, October 26, 2003 12:25 AM

Subject: [ChurchBass] {GEAR} Compressors and crying

Once, I tried switching back to the old tried and true DBX 163 - Still okay for what it is, just not enough variation for slap style playing. So, I switched to an Alesis Micro compressor. Actual name? I just know that it is the 3/4 rack deal. I was very happy with the Alesis until I switched back to a Trace Elliot SMX head. The Trace Dual compressor (comps the High and Low side separately) is easily the best comp that I have used for bass, live and studio. If you can find the old discontinued SMX Dual Compressor pedal for bass, you will have something very cool and useful. The pedal also offers the EQ knob, which will allow you to go from a DUB Reggae sound to a Chris Squire, early Yes, Rickenbacker type of tone, with the turn of a single knob.

> ATTACHMENT part 24 message/rfc822
From: "Wulf Forrester-Barker" <WULF@WEB-DEN.ORG.UK>
To:
churchbass@welovegod.org
Date: Mon, 27 Oct 2003 07:35:49 -0000
Subject: [ChurchBass] {GEAR} P in a J

Bradley <SUITABLEMONIKER@SBCGLOBAL.NET>mentioned:

> Hello all. I have a fender jazz (mexican). I absolutely
> love the bass. However, I am interested in changing out a J
> pickup in favor of a P pickup. Does anyone know if this can
> be done? If it can be done...any suggestions?

If you love the bass as it is, I'd tend to stay away from
doing that for various reasons:

1. As I recall, one of the functions of twin J-type pickups
is to cancel unnecessary noise in the circuit. A P-type
pickup will do this on it's own but the remaining J pickup
will then have nothing to cancel the noise in it's signal.
There are solutions (eg. replacement J pickup designed
to be quiet on its own) but that means you have to buy
two new pickups.

2. You'll need to rout the body to fit the P pickup. If you
don't like
it, you can't easily go back without visible
damage.

3. As I recall, the differences between P and J basses go
further than the pickups - eg. the feel of the neck, body
shape and control layout. You won't transform the bass
to a Precision by turning off the J pickup.

Therefore, it's a potentially expensive and irrevocable
modification that will permanently alter you bass.
Especially when you figure in the risk that it might all go
pear shaped, I wonder if you might not be better off just
buying a P bass or one that comes designed with a PJ
configuration. Two basses (even if one of them is a cheap
P copy) might be a bit more awkward to lug around but
are otherwise a flexible and reliable solution - going for a
single 'frankenbass' is a much more risky investment!

Wulf

--
Wulf Forrester-Barker </ <
NB. new preferred address: wulf@web-den.org.uk
[wulf@bcs.org.uk will stop working shortly]
Website:
http://www.web-den.org.uk/

> ATTACHMENT part 25 message/rfc822
Date: Mon, 27 Oct 2003 01:28:50 -0800
From: Tim Warstler <RACNBASS@PE.NET>
To: churchbass@welovegod.org
Subject: [PRAYER REQUEST] SoCal fires update

As of 11:00pm, Sunday, 10/26, the toll from the combined San Diego,
Inland Empire and Simi Valley fires is 36 lives and almost 900 homes
lost, over 800 homes were lost in less than a 24 hour period. Santa Ana
winds are expected to last until Wednesday afternoon, but have subsided
a bit this evening. The fires are continuing to rage out of conrol. LAX
is so thickly enshrouded in smoke that it looks like it is in a thick
fog. The west coast air traffic control facility in San Diego has been
closed down, so all commercial air travel has been halted. Please
continue to pray...
In Him,
Tim

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