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unownunown wrote:key changes are cool. i like them. what reason is there to dislike them? plus they're so common in music, it must suck if you hate 'em.

For me it's more of a thing with writing stuff that IMOP does not need them and having players going doesn't this change key? No it is suppose to be like this... that's all... This is just certain projects and styles though, I do other things where every part of the song is in a different key

Confession: I have been obsessing with short scale basses of late even though I don't gig with the things

Mudfuzz wrote:Confession: I have been obsessing with short scale basses of late even though I don't gig with the things

Me too..well, until I actually played one
Was seriously considering one of those SG reissue basses by Gibson, but I tried one out and it just....felt too 'rubbery'

StudioShutIn wrote:

Mudfuzz wrote:Confession: I have been obsessing with short scale basses of late even though I don't gig with the things

Me too..well, until I actually played one
Was seriously considering one of those SG reissue basses by Gibson, but I tried one out and it just....felt too 'rubbery'

That is because they are almost always set up wrong. If you put a heavy set [110 E] you can barely tell the diff, the prob is most/all SS sets are too light. Basically the 30" is the same as tuning a standard 34" down one step and putting a capo on the 2nd fret. Only real reason I don't use them is 90% of the time I NEED a five string Also I was unimpressed with the SG bass, for the price I thought they should have been a lot better.

the only short-scale bass i've ever played that isn't all floppy on the bottom string is the Hofner "Beatle bass." a friend of mine who's a total bass nerd (NTTAWWT) and owns/has gone through dozens of basses concurs and agreed with my surprise that the Hofner was so tight in the low notes.

but for Gibson-style basses i'm all about the semi-hollow style...they've got a 1960s EB-2 at Starving Musician in Santa Cruz that 2000 lonely dollars of mine would really like to meet, but they can't afford to take her home.

unownunown wrote:key changes are cool. i like them. what reason is there to dislike them? plus they're so common in music, it must suck if you hate 'em.

Oh, you.

key changes are cool

dubkitty wrote:one thing a key change can be handy for is when you want to have a solo and you don't want to just have the verse or verse/chorus go around again...change the key for eight bars or sixteen bars and it's a contrast. think of "Respect" in the Aretha Franklin arrangement.

Or "Undone (The Sweater Song)" by Weezer

or a number of Richard Thompson songs, especially during the Richard-and-Linda years.

Undone was the first thing I thought of and probably the most trivial example of the concept.

Or Dance Dance Dance by The Beach Boys.

Sorry I can't help sowing e-strife.
[youtube]http://www.youtube.com/watch?v=BJIqnXTqg8I[/youtube]

Confession:
I've never been able to pull it off, but I've always wanted to do nasty things with Painkiller's album with Mike Patton as the soundtrack.

i must confess that all of my problems this summer have been directly linked to alcohol and women

soooo not worth it.

Alcohol and women are both certainly worth it.

Even when it doesn't work out the way you might've imagined it.

All Good Things in All Good Time, dude.

Confession: I'm an optimist.