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Showing content with the highest reputation on 11/05/18 in all areas

  1. 6 points
    What's the point of scientologists?.......................... ............................... It gives the Flat Earthers something to take the p1ss out of!
  2. 5 points
    The songs. The absolutely blandness and whineyness of the songs - the voice just penetrates everything like chalk down a blackboard, and it is hard to separate from the covers. The generic dullness of a bunch of chords in the 'how did that get so big when it is so ordinary'. The groups of drunk blokes badly singing along to the songs. The 'there are a million better songs in the world, why on earth would you want to do that?' of them. Pretty well everything. I am not saying I am a fan of the gallagher brothers, but I am not one that lets my views on an artist affect my view on the music, or there would be loads of music I wouldn't listen to.
  3. 4 points
    So this arrived today!! Can’t stop smiling 😁😄😃
  4. 3 points
    But with oasis, there really is. I get what you are saying but that is a minor point, I have nothing against, say, u2, I find their stuff uninteresting and overplayed, but fundamentally there isn’t anything wrong with it. But oasis, yes it is overplayed and overhyped but underneath that is that horrible whingeing voice doing those dull songs dumbed down for people that just want to shout a line to a juke box on a Saturday and think it’s singing
  5. 2 points
    Sounds like we're in favour here...I can't remember ever hearing anything negative about Yamahas - even the cheap ones.
  6. 2 points
    Don't forget the bingo! God forgive you if you make a sound.
  7. 2 points
    Fairytale in New York is my favourite Christmas song, because it's not all about what a wonderful time we should be having because it's bloody Christmas bah humbug
  8. 2 points
  9. 2 points
    Well, mine just arrived! Sadly, the wife is having a pre-holiday haircut in the music room, so I shall have to wait an hour. It looks lovely.
  10. 2 points
    The hatred that many have for Oasis is based on unwaranted arrogance, chippiness & a snarky attitude when in fact the Gallaghers had /have little going for them. Oasis songs are derivative and simplistic singalongs for football crowds while LG is a one trick pony with a nasal snarl of a voice.
  11. 2 points
  12. 2 points
  13. 2 points
    Anything by ‘scouting for girls’.
  14. 1 point
    This started out as New Amp Day thread for my Genzler Magellan 800 but has grown a bit more than I was originally anticipating…. DISCLAIMER - what is stated below is just my opinion based on my experience with my bass and my cab being played at smallish pub gig volumes. I thought I'd throw that in because there might be 1 or 2 comments below that some people might not agree with. This thread just relays my experience, thoughts and feelings at the time. Having been in the market for a new amp for a while, I'd managed to narrow down a shortlist of amps that, on paper at least, ticked all my requirements; lightweight, plenty of power for bigger/outdoor gigs, more voiced towards a vintage rather than a toppy hi-fi tone, and, sensibly priced (not cheap as such, but nothing ludicrously expensive either). In the end I'd managed narrowed it down to the Aguilar Tone Hammer (either the 350 or more likely the 500), the Darkglass Microtubes 900, the Mesa Boogie Subway D-800 and the Genzler Magellan 800. A recent trip to Bass Direct armed with my own cab, a Tecamp M212 and my trusty passive Sandberg TT4 jazz bass, I had the chance to try out and compare the Darkglass (DG), Mesa (MB) and the Genzler (GZ). My test driving session was in BD's store room which is nothing more than an industrial unit full of boxes, so possibly not the best acoustic environment to test gear out, but that's how it was. I started off running each amp with all the tone controls at 12 o'clock. Any adjustable preshape filters were set to their off/minimum settings and the GZ and DG were set to their clean channels. All 3 amps the were broadly similar tonally, but there were differences. The MB had noticeably more bottom end than the others. The GZ sounded flat with no obvious frequencies either cut or boosted. The DG, somewhat surprisingly, had what sounded like a bit of a roll off at the lower end. Not much, but it was noticeable compared to the others. However, the DG had something more pleasing in the mids to my ear. It probably all comes down to what each manufacturer perceives a 'flat' sound to be. Next came an hour or so of finding out what each amp had to offer by going through various eq settings and swapping the amps over to compare each one with similar tones dialled in. Each amp yielded some fantastic tones and each had their own distinctive voice too. In fact I wasn't able to coax a bad or unusable sound out of any of them. It was a tough call as each amp has its own strengths. Mesa Boogie Subway D-800 The MB was the least versatile of the 3. Tonally, it goes from shouty and aggressive to really shouty and aggressive. Not that it has a bad tone, far from it, but it is anything but subtle. With the 4 eq points set to 12 o'clock and the voicing control set flat there was more inherent low end than the GZ and the DG in particular. Using the bass control, voicing filter and deep switch, you had 3 options to dial in even more bass. Not that you need any of them. I found that I was having to wind the bass eq back to 11 or even 10 o'clock and keep the deep switch off to stop it getting overpowering. Not that the bottom end was dominating the other frequencies, but I'd imagine that it could get overbearing in a band situation if you're not careful. The voicing control on the MB, which is an adjustable mid-scoop, has a wide range and to my ear but anything over about 9 or 10 o'clock and you were getting into 'sounds great on its own but makes you disappear from the mix' territory. Less is definitely more with that one. The tone that really put a smile on my face was playing the Sandberg on the neck pickup, the voicing set at about 8 o'clock, deep switch off, the bass eq set about 10 o'clock, low mid at 12, upper mid at about 1 and the treble at about 11. It pretty much turned the TT4 jazz into a Precision! This tone very nearly sold the Mesa to me there and then. But much as I loved the core tone of the MB, it was hard to make it sound anything other than aggressive and bass heavy. It felt like it was constantly having to be kept in check. Darkglass Microtubes 900 There's no denying that there's a lot of hype about the DG, and rightly so, it's a cracking amp. On the clean channel with the EQ set flat, it was the least bassy sounding of the 3 but had something going on in the mids that I really liked but can't quite describe. It was in no way thin sounding, it just didn't have quite as much low end as the other 2 with all bass eq at noon. Upping the bass eq to about 1 o'clock bought the low end back up to a similar level as the GZ. Of the 3 amps, the DG has the most comprehensive eq section which was quick and easy to get a great sound out of. It was the only amp not to have a preshape or contour feature, just a 4 band eq with each mid band having a switch for 3 preset frequencies. A setting that sounded great to my ear was bass between 1 and 2 o'clock, low mids at 11 on the 500hz setting, hi mids at 1 on the 750 hz setting and the treble just backed off a touch. The big selling point of the DG is the Microtubes circuit which has both the Vintage Microtubes and B3K voice settings available. Tonally, like a lot of guys, I want a bit of warmth/hair/grit/additional harmonic content (insert your favourite adjective here) in my sound, not overdrive as such, but something that is neither squeaky clean nor yet dirty. A bit grubby I suppose. I was expecting to get some mild warmth using the VMT setting at lower gain, but even with the drive and blend controls down in the 8 to 9 o'clock regions there was still too much on tap for what I am looking for. Switching to the B3K mode changed the voicing and actually sounded less driven to me, somewhat surprisingly. It also introduced a slight mid-scoop too. At higher gain settings there are some great overdrive and distortion sounds to be found, but these are way over the top for anything that I play these days, everything from 70's disco to contemporary indie. Having said that, the hairy teenage rocker in me who first picked up the bass more than 30 years ago was screaming at me to buy it for the fun factor alone. Unfortunately, the podgy, balding, middle aged man in me (which is me these days) was urging something more sensible. The DG was still tempting for the tone and flexibility of the clean channel alone but why pay extra for the Microtubes engine that I'm not going to use other than for a bit of fun? Just to be clear, I'm not saying that the Microtubes engine is inherently bad sounding or unusable, it's just that even at minimum drive settings it was too full on for my requirements. I read recently someone describing the DG sound as like the bass being played through both a bass amp and a guitar amp at the same time (or words to that effect) and I think that sums it up perfectly. It's not your classic Ampeg saturated valve bass sound, it more like a bass being played through a Mesa Boogie dual rectifier. Genzler Magellan 800 Of the 3 amps being compared, the GZ was a last minute addition to the short list. I'd borrowed a friends Genz Benz amp a few years ago (can't remember what model it was, unfortunately) and found that it had a bump in the boxy sounding low mids that I struggled to eq out. I'd just assumed that this would likely also be the case with the GZ. The good news is that this assumption was misplaced. On the clean channel with the tone controls at noon and the contour control wound right back the tone was to my ear the flattest of the 3 on trial. The blurb online talks about a “weighted feel to the notes” which I'd just assumed was the usual marketing claims. However, the low end is definitely forceful, punchy and powerful but without feeling overbearing like the MB. The mids and treble are equally present without being boxy or brittle. The eq section is simple and flexible and contains bass, treble and a single semi-parametric mid plus the contour control that has 2 different voicings, A & B. Voice A is a variable mid-scoop which doesn't have the range of the one on the MB but is far more usable for it. It was only when I cranked it up to 2 or 3 o'clock that it started to get into the realms of potentially not cutting through in a band situation. The MB voicing filter hit that spot much sooner. Voice B is a more vintage sounding mid bump with a slight low end roll off. Voice B set to about 10 o'clock with the bass pushed up between 1 and 2 o'clock gave a great, useable retro tone. Like the DG, the GZ has a dedicated drive channel, but even when ragging it the range of drive available on the GZ still seemed less driven than the DG at minimum settings. That's no bad thing. The drive sections on the DG and the GZ are very different creatures. The GZ is on the more subtle but extremely usable side. I've been through many different amps and pedals trying to find the perfect warmth/hair/etc. tone and the only that came close was the Aguilar Tone Hammer. The GZ drive (more warmth and enhanced harmonic content than a pedal style overdrive) is rich and creamy with plenty of clarity left in the underlying bass tone. There's no fizz either, just smooth, dynamic warmth. Think along the lines of the Tone Hammer but with more definition or a SansAmp at lower gain but without the mid-scoop. This was what convinced me to go with the Magellan. It just sounded right, my favourite settings being with both A or B contours at about 10 o'clock and the eq section all at noon. Even though I was looking for exactly the warm/hairy tone that the GZ delivers, the clean channel has a real immediacy about it. With contour A at about 9 o'clock, bass and mids at noon and the treble back at about 11'o clock, the tone was powerful, punchy and clear. Even now having played through the GZ for several hours I can't decide whether I prefer the punchy clean channel or the warmth of the drive channel the best. Aguilar Tone Hammer 500 I didn't try the Tone Hammer (TH) directly against the other 3 at the time, but having already played through a TH 500 a couple of weeks before, I was leaning more towards the other 3 over the TH which is lower powered (although in reality would probably have easily covered every possible gigging situation that I'd ever need it for) and although it does the warm, vintage tone brilliantly, it didn't seem to be massively versatile. Summary Without sounding like a cop out, these are all truly great amps and I could happily live with either of them. I wouldn't say that any one is any better than the others as each one has something different to offer. Ultimately I ended up buying the Genzler as that was the one that suits my needs. But it was a tough decision. The GZ also happened to be £150+ cheaper than the others, but that was in no way a deciding factor in my choice. If you want a set-and-forget single tone amp, the TH and MB are great choices if their inherent sounds are to your liking. The TH is perfect for warmer vintage tones and the MB is the ideal choice if you want something more aggressive. But if you're looking for subtlety you definitely won't find it in the MB. If you find yourself asking "is it any good for metal?" on a regular basis, the DG is the obvious choice, although the MB is definitely worth considering too. Don't write off the DG purely as a metal amp, the clean channel is good. Really good. For my needs, I found that I was having to reign back both the MB and DG to keep them under control. But I'm sure there are plenty of guys who would just let them rip and sound a damn sight better than I ever could! The simply great tone and the versatility of the Genzler is what made me choose it over the others. It doesn't do the insane drive and distortion of the DG but instead it delivers a convincing smooth valve like saturated sound that could be used across many different genres. It's not dissimilar in that respect to the Tone Hammer, but the GZ has more clarity to its drive sound. The clean channel has a lot of power behind it, real weight, dare I say the H word? The drive channel and the different voices of the contour are usable through pretty much their entire ranges. The only thing I don't like about it is its daft name
  15. 1 point
    For sale MTD 535-21 fretless, WITH EXTRA OPTIONS VIDEO ADDED, FEATURED IN NOTREBLE.COM: https://www.notreble.com/buzz/2018/07/24/jesus-rico-perez-braighe-loch-iall/ One of the best fretless basses I`ve had, unfortunately I need to sell it. PRICE: 2500£ Specs: Myrtle top Tulipwood body Ebony fingerboard 21 lined fretless Ebony truss rod cover 35" scale, Hipshot USA ultralite tuners Bartolini USA custom pickups, specially made for Michael Tobias Bartolini custom preamp, Vol, Balance, Bass, Mids, Treble; 3 pos. frequency mid switch. Electronics, jack, truss rod, everything working in perfect conditions, with no issues, no surprises. EXTRA OPTIONS: ( see the pic ) Wenge neck $500 lined fretless $200 Ebony board $200 Matching peghead $200 The nut width is 45mm and string spacing is 19mm. on the original Hipshot B bridge; now it has installed a Hipshot "A" bridge ( fully adjustable ), which has not needed any new holes for its installation, it is installed perfectly in those that already exist. I will ship the ORIGINAL bridge too. The overall condition is very good, excepting a little mark that I SHOW IN THE PIC. Comes with non original case ( I never had it ) in perfect condition. The bass is located in Arroyo de la Miel, Spain, and can be shipped to E.U. (PROTECTED IN A CARDBOARD BOX with BUBBLE PROTECTIONS) at buyers costs. You can check my profile, I have previously sold and bought on this website, always with good results. Thanks for looking!
  16. 1 point
    For Sale Laurus Quasar T900 XRH five strings This is the Laurus top model, with tonal chambers that make the instrument more resonant and very light, a real pleasure to play. Is setup with an amazing low action, fast and very full, warm and punchy sounding. Specs: 34" scale !! Mahogany body with two tonal chambers Quilted maple top 5 piece neck/purpleheart neck through body Top Nut is 43mm String spacing: 18mm Weight - 4kg Phenolic fingerboard Nordstrand Dual Coil pickups wired for parallel/series operation Noll preamp, w/3 band, bass, mids, treble; push/pull active passive; parallel /series switch. Passive tone in passive mode. Neutrik locking security jack Original Laurus soft case, tools and candy in perfect condition. The overall condition is perfect, look at the pics. Electronics, jack, truss rod working perfect, no issues. The bass is located in Arroyo de la Miel, Spain, and can be shipped to E.U. (PROTECTED IN A CARDBOARD BOX with BUBBLE PROTECTIONS) at buyers costs. You can check my profile, I have previously sold and bought on this website, always with good results. Price:‎ £ 2500 Thanks for looking!
  17. 1 point
    We are a London based Singer/songwriter Guitarist,Bassist and Drummer Who are seeking second Guitarist's to start an original QUALITY Pop Rock band. When i say pop i mean in the good sense of the word with a difference. We are Looking for pro/semi pro musicians from 19 upwards Who dare to dream and believe in what their doing and would want to stay in the band and are looking to push hard and get ahead IDEALLY FULLY COMMITTED PEOPLE I am looking for a Lead Guitarists or Rhtyhm Guitarist with (Energy,Style,Stage Presence,Charisma and possibly own Gear Bv even better) who know their instruments like they know their prick lol who are really creative to help in the creation of new material however if you are a guitarist who can play well and tick all the boxes but is not that creative you may still be of use :-0 !!IMAGE IS IMPORTANT!! SO A GOOD LOOK IS REQUIRED OR A KOOL QUIRKY MUSICIAN LOOK IT ADDS WEIGHT The music is as important also We take musical influences from across the board including :Kings of Leon, Guns and Roses ,Lenny Kravitz , The strokes, Red Hot Chilli Peppers, Biffy Clyro , Foo Fighters, The Cure , Black keys, Michael Jackson ,Motown , James Brown, Queens Of the Stone age, Queen , Beatles, The who, Rolling stones, Led Zepplin , Artic monkeys, Jimi hendrix, Linkin Park, Bring me the horizon, Janes Addiction etc etc. We are open minded and down to earth, We have lots of written material and are VERY SERIOUS and if you write or have any other contributions they will be welcomed however (JAMMING IS ALSO A GOOD WAY OF CREATING NEW MATERIAL AND TAKING THE MUSIC IN A DIRECTION EVERY MEMBERS OF THE BAND IS HAPPY WITH) We are looking to make modern rock so We are looking for like minded people who want to move fast once everything is together :-0 !!BUT ARE PATIENT AND WILLING TO TAKE THE TIME TO BUILD MORE QUALITY MATERIAL !! WE HAVE SONGS TO LEARN READY TO GO OUT AND PLAY WE LOOKING TO BOOK SHOWS ASAP (HOWEVER I FEEL STRONGLY IT IS IMPORTANT TO CREATE MATERIAL AS A BAND THAT CAN BE ADDED TO THE SET LIST SO DONT THINK IT WILL BE ONLY ABOUT THE MATERIAL WE HAVE BUT IT GETS US OUT THIER PLAYING AND MOVING FAST ) NUMEROUS INDUSTRY CONTACTS (If your interested you can send me a private message) (Please send a visual/audio of yourself playing and any social media links) PS. Although We are taking this seriously. Getting on and having a laugh together is just as important as making the music. NO BIGOTS your Boring And Strictly No TIME WASTERS you're useless lol. CAUTION (If you are really busy with work or busy with life or Any other reason which will stop you from giving 100% then this is not for you ok its a sacrifice of your time and effort at the best of times so its more than just a hobby for us
  18. 1 point
    Have you ever tried to beat a seal to death with a pub ?
  19. 1 point
    ‘Built by Tony’ I wonder who Tony is and what he’s up to nowadays? These little nuggets of anthropology fascinate me.
  20. 1 point
    Depends on how you define big time As long as I have consistent work and getting paid I'm in the big time. Blue
  21. 1 point
    I like your avatar!
  22. 1 point
    This. Plus a fork lift truck. Job done
  23. 1 point
    Not physical appearance, but early 90s, around 10am, I was walking round the house, wearing nothing but a Telecaster, and swigging from a bottle of spirits. I looked up to see the window cleaner staring in at me. I did the only thing I could in the situation: raised the bottle in greeting then wandered off. I like to think it looked pretty rock n roll
  24. 1 point
    As new Fender High mass bridge.
  25. 1 point
    The rear port is in fact a black hole. Great amps. GLWTS.
  26. 1 point
    I walked across the zebra crossing outside Abbey Road once.
  27. 1 point
    you aint from round these here parts are ya?!!!
  28. 1 point
    Aaaarghhh..... mine's not arived yet.... and I'm only down the road from NancyJohnson!
  29. 1 point
    Dave Swift, bassist with Jools Holland, talking about the similar platform he uses: "When I’m touring with Jools, I use an Aguilar DB751 Head and a DB410 cab, I drastically reduced my on stage volume as it was becoming problematical, I was ok with that but it started to go down and down until I couldn’t really hear or feel the bass. So I decided to use in-ear monitoring by Ultimate Ears, the clarity and separation was exquisite, but although I could hear the bass, it was like I was in a different county. So I decided to try a Porter and Davis KT Platform which acts like a sub woofer with the bass notes vibrating under my feet. With the in-ears and the platform I now have the ultimate sonic combination.”
  30. 1 point
    I've been considering getting a custom pickguard cut (for a different bass to yours). From reading previous threads, I'm going to go with either http://www.jacksinstrumentservices.com/custom-scratchplate-cutting.htm or http://www.simscustom.com/html/00pickguards.htm You send in your existing pickguard as a template.
  31. 1 point
    Beat me to it! Also the Attitude Bass is made in Japan. I always thought his original decision to stop using Ampeg was due to him observing quality issues with them after production moved to the far east. He's certainly very friendly and helpful on the Facebook page dedicated to the Attitude Bass. As well as his political views, I've never been sure what to make of the scientology thing either. I've always been a kind of 'each to their own' type of person. Although I can feel that changing as I get older......
  32. 1 point
    Yeah although now you mention it maybe a bass too (As long as you like the tonal properties of felt and construction paper)
  33. 1 point
  34. 1 point
    Songs I do not like playing include 'Rockin In The Free World' and 'Zombie'. There's probably more but they are massively out-numbered by songs that I do enjoy playing - including 'Alright Now' and 'Mustang Sally'. There's only one song that i refuse to play, and I will leave the room if I hear it and that is ....... 'American Pie' by Don McClean. Chris
  35. 1 point
    I, too, hate power ballads. But the thing that irks me most about this particular one is that, if I hear the bandleader announce it or see it on the setlist, I always get my hopes up that they might play some Huey Lewis. And every time, I am disappointed.
  36. 1 point
    so it's actually Liams whinny vocal delivery that gets on your tits, the world is full of dumbed down songs that drunken people love singing along to, I'd be surprised if most of us haven't been there edit, I have the same problem with Guns and Roses, Axel's voice is like fingernails down a blackboard to me, and when drunks try and sing along to their songs it's even worse, most of them can't get high enough
  37. 1 point
    Many years ago, I had an idea. Why didn't bass amp manufacturers do an amp which had distortion bands seperated by frequency? That was 15 years ago and now, the future is here. For those of you who "set everything flat" or "don't do distortion," leave now. There is nothing here for you except pain. Some of you may be aware of the fact that Wounded Paw do a 700W version of this, but as I don't like the "small box" format. I wanted a rack pre format. Basically, it's a switchable 2 channel pre. One side being the 6 band overdrive and the other being a clean channel. The 6 band overdrive is immensely flexible and can do a clean tone if you want and can go all the way to full on armageddon. The textural variances you can get from this is truly remarkable. If you play a 5 or do downtuned, then this thing will work for you really well. It has better low end distortion than Darkglass to my ears (much more crack) and the treble has so much harmonics going on that the treble knob often has to be used to tame them a bit. I really can't overstate the flexibility of this. You can go from clean to mild overdrive, to fuzz, to total insanity. It is also possible to have a clean low end and distorted top end. The other night I got a very "Live at Leeds" type tone with my 50's Precision, then recorded with my Wal in drop D in a more "Justin Chancellor" type setting. I did ask for a few tweaks from standard. On the back panel I got an extra XLR out added as well as a parallel input so as to use it in the loop of something else if you wanted to. I also asked for a mod making the effects loop active on the clean tone. This was to cover myself for other things. As for other features, the Effects loop can be pre/post on the dirty channel, but only pre on the clean. I'll get back to this in a minute. Due to the extra switching and because I have the first one, there was a bit of teething trouble with getting it to work quite right, but Preston is great and was really helpful in sorting this out. I suppose you could argue that this is the "Wolverine signature" preamp, but maybe that's a bit of a stretch even for my own vanity. The clean tone is very, very clean and I'd imagine too clean for even many purists that swear by it. This was why I wanted the effects loop to be active, so that you could say use a preamp pedal with a bit of dirt to jazz it up a bit. I've tried this and it works brilliantly. The dirty channel is a distortion that allows the inherent character of your instrument to come through. My Mk2 Wal sounds like a Wal and my Status Buzzard, still sounds like it always did. Some distortions take over, this doesn't. Moving on then to the Battering Ram EQ. I got this for 2 reasons. Mainly as a stand alone pre pedal for light gigs and also for recording to jazz up my synth setup. So, firstly, the EQ. It's very, very flexible due to the parametric nature of it. As a clean tone, it's fantastic. The overdrive and fuzz are in parallel which has it's added benefits. Firstly, the overdrive. It's not really a distortion per se, it's mainly an overdrive even at max settings. It's quite dark as it retains the lows brilliantly. Now to the fuzz. This adds the juice really. All the mid character you want for a bit of cut. Pile in the octave up fuzz and you have a brutal tone. Like Doom? You'll love this. It actually works immensely well for guitar as well as a mate was recording some guitar for his solo album and used it with a Peavey 5150. He thought it was "the tightest fuzz I've ever played." He was also amazed it wasn't much more expensive. In truth, this is great gear with a unique character of it's own. It has elements of Darkglass, Tech21, Big Muff, Ampeg even, but is of course none of these things and a refreshingly original take on the age old medium of distortion and fuzz. I'm surprised Wounded Paw doesn't get more love per se, but being based in Toronto might have something to do with that for those of us in the UK. If you're after something a bit different, then I'd encourage you to check it out.
  38. 1 point
    Oiiiii!!! I resemble that remark ...
  39. 1 point
    don't really understand this hatred for all Oasis output (or any all encompassing dislike of all of a major artist's output), is it the songs that people despise or the Gallagher brothers?, I thought they made some pretty solid rock songs, nothing particularly groundbreaking, but pleasant enough, there's a lot worse out there, IMO obviously.
  40. 1 point
  41. 1 point
  42. 1 point
    Yes, anything by Oasis I have banned from my band. in general they don't listen to me and have tried many times to sneak an oasis song in but I have put it in simple terms, I will not be on stage if Oasis is being played. I hate I get knocked down, which is a shame as that is in our set list. A lot of blues I would be happy to not play.
  43. 1 point
    Fixed..! (Funeste is French for baneful, augury of death, disastrous... )
  44. 1 point
    Another good clip here, even if it does sound a little bit like the theme tune to Inspector Gadget: https://www.instagram.com/p/Bik1QdqlAPd
  45. 1 point
    Me, I've never had rock star looks. I look like an insurance clauns adjuster. I have seen some guys that were fantastic rock musicians but didn't have the look and it held them back Blue
  46. 1 point
    Thats what my ex said.... On a more serious nots, a pic from the listing when i bought it, and a demo of the bottle opener.
  47. 1 point
    I stopped going years back, mostly due to it always ending up being a constant round of twelve bar blues type stuff, while an Eric Clapton type wannabee showed us all what a total rock God he was and that we were so lucky to be supporting him
  48. 1 point
    I had a really nice JJ jewel, which I used at work to take soul band rehearsals. It had got knocked over once before and had a hairline crack around the neck pocket. One day we were working on ‘performance’ and they decided I should demonstrate the Pete Townsend leap I was on about, which I promptly did. Upon landing, I felt the strings go slack and the body drop, which I caught. Looking down the neck was completely separated from the body. I put the dismembered guitar on the floor and the trumpet player asked me ‘Is it dead sir?’ When I confirmed i thought it indeed was he picked up his instrument and played the last post as solemnly as he could manage, the cheeky begger.
  49. 1 point
    Yamaha Attitude LTD 2 25th anniversary model
  50. 0 points
    Noticed this a couple of times lately - folks take the time to put the post up and then disappear and don't respond to any of the advice/help...

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