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Theres more to it than that. Granted, there will be mimes - but when you get to larger productions, where there is a hell of a lot of effort put into polishing the audio, click is vital for things like time based effects (e.g. delays). Theres simply too much going on for sound engineers to be tapping tempos or trying to get players to control their onstage effects to be in sync to an ever changing tempo. Solution = click, and midi timecode. Lets not also forget, for large scale events, you'll need a click for automations on the light show. Cues is no biggie - why wouldn't you prerecord the cues if you are running to a pre-arranged show? It's making the MDs life a bit easier on the talk back mic. I know Rick Beato talked about changing up shows - all possible if you mark your loop zones in the arrangements. Like everything, it's all in the prep. And thats why the best stadium shows are complete mammoth works of art.

Just joined this club after a cash for Streamer exchange with @40hz at a service station off the M4 on Saturday! Just realised my 30 year dream of a Warwick into a Trace Stack, although have to wait a couple weeks before testing it in anger!

Yes depending on the band leader and the genre it can happen. As mentioned previously I used random modes just as an example of what can happen. The band leader knew I understood what he was communicating so that might have been it.

That's the thing isn't it - between the PA operator having the volume knob and, well, the guitarist being a nob with their 100W amp 🙂! Of course as a bass player I've never ignored the instruction to turn my amp down (or turned it up again after they got too far away)! I do get the sound/PA and practicality argument for IEMs/modellers, I just miss the aesthetic of amps on a stage!

Hullo! That sort of thing def goes on (who doesn't love nerding out over gear and a cuppa?) and I'm sure a Warwick fan will be along to help out sooner or later. It might be worth asking, or linking to this thread in the Warwick thread over in the gear gallery..... Good luck!

I am currently working with a lead guitarist who uses modes,he's not "obsessed" with them however. I picked random modes just to illustrate my point so substitute Locrian with any of the others. Knowing modes has helped me in scenarios where I'm asked to improvise over changes and it's helped to steer me towards notes that nearly always sound contextually correct. Only sharing my limited practical experience of them.

Nice idea. You could call it Feck 🤣

Slide - Slave

Over the past few rehearsals and gigs, ive noticed my drummer's snare wires are vibrating over most of the intros where he doesn't play, but me or the bass player start the song, and over one where he uses rim shot most of the time. I know there is a lever to mute/pull these back. I asked him at the gig on Sat about one song and he said it was tricky doing this. I appreciate it can be, but isn't it something he should be doing anyway? I think it sounds very unprofessional having extra noise's over intros. Im the only one that has brought this up. Am I being unreasonable telling him to get this sorted?

Slippery When Wet - Commodores

There is nothing quite like his late 60's/early 70's tone, for me it started to go away a little when he moved towards more specialised instruments - to my mind in the mid-late 60's he was teasing better tones of out his Precisions than most players were 10 years later getting out of their Alembics - and his skill and creativity on what many consider quite a crude instrument puts him and Jamerson in the same camp; genius creative technicians, in short virtuosos. Yep, there were other good players, Macca was solid and had some lovely lyrical moments, Jaco was the Paganini of bass but a very acquired taste musically, and then...... well who else was there in the late 60's/early 70's? OK, loads of highly competent touring and session players, but Entwistle was one of a very small band of bass players who turned bass into a virtuoso instrument.

.. and they do this Subversive Propaganda - FTelettronica Handmade Pedals also a filter now you have me wanting the other one! on a related note latest was my behringer Btron which to my uncultured ear as as good as / better than my Otto Filter / MXR BEF

In The Hall of the Mountain King - ELO

Good news, mine just arrived. Had a quick unplugged play and it looks pretty great. Looks unplayed, and included a little baggie of plectrums and a cleaning cloth. Can’t wait to get it home and have a proper go! I also noticed one has reappeared on Anderson’s website. Luckily it’s another black, I may have had some explaining to do to Mrs H had it been blue

I see the problem here - you need a bigger sofa, mate

Have you seen it?

I think that the above scenario is extremely unlikely, unless your band leader is a mode obsessed lead guitarist. IME the real value of modes is not applying them as degrees of a major scale, but knowing how to apply them over certain chords. Lydian for example, can be used over maj7 chords functioning as the I chord, not just the IV. You also shouldn't worry about using all the notes in the mode, but know where to apply the key degrees, in this case the raised 4th, to provide the colour. Locrian would hardly ever be found in modern music in a major key - it's far more likely to be used as the II chord in a minor(major) key in Jazz, where it would be thought of as min7b5 rather than Locrian anyway. What I'm trying to say is that until you have an understanding of the function of a chord (I, IImin, V, etc,), what its chord tones are and how it can be extended, 'knowing' the modes won't really give much benefit to your playing

Here's the new (My version of a Tele shape) Rotta bass mockup it's going to be a PJ but you can't really see them in the picture but I'm going to attempt to do the pickup covers chrome.......🤟🏻👍🏻