Dad3353

Here's the manual; start at p48..? BOSS GT-10B manual.pdf

I bought my first copy from the fusty-dusty music shop (Bell Music, Hounslow...) at the same time as my first guitar, a Russian-built classical guitar, strung with cheese wire steel strings. A wide, flat neck, a bolt through the neck heel to hold it in place; in fairness I knew no better back then (mid '60s...). I spent a year or so on the first chord chart page, changing from G to GMaj7, to GMaj6, then GMin7, GMin6, chromatically up and down the telegraph pole neck, then the chord substitution examples, and built-in melodies. It stood me in good stead for the decades since; I've added much theory from other sources, and have a pile of jazz methods and chord dictionaries of all sorts. I might not recommend Mickey Baker as one's sole source of knowledge, but what's in there is quite definitely valuable stuff, and well worth the effort, even as a complete novice. It inspired me, for instance, to acquire my first Hofner arch-top (President Thin Florentine cut, tobacco burst E2, that I was a fool to not keep; I've been looking for another ever since...). After the Russian guitar, all talk of 'playability' and 'neck width', on guitar or bass, bring out a wry smile from me. It's like the bloke who always bought size 8 shoes, when his feet were size 9. When asked why, he would reply 'It's such a great feeling when I take them off'.

A thousand times 'Yes', without reserve. A gold mine, and at a ridiculously low price. A no-brainer. I've worn out several copies, and always buy it again; I still consult it often. Did I mention 'Yes'..?

I'd probably never 'see' a B11, as I play (read 'noodle'...) my own stuff, based around what I've retained from my Mickey Baker books from the '60s. Maj7, m7, Maj6, m6, a few other odds and sods for 'turnarounds' and that's about it. I can spin this little amount out for hours; my sons and friends usually take the guitar away from me after a while. (Oh, yes, some 7th chords sprinkled in there, too ...)

To me, that's F#m7; I'd be playing the root note on the bottom 'E' string, second fret, if there's no bass or keys playing, and mute (or just don't play...) the 'A' string. I'd drop the 'D' string down a semitone for the m6. I use these chords, along with Maj7 and Maj6 a lot. Just sayin'.

Is that a problem with Eternity to fill..?

Try these, maybe..? Amazon, UK ... Wired piezo pads...

Hmm... That might work...

Only 5' 7"

There's nothing in the passages indicated referring to music at all, still less 'abomination'. There's no sense to it. Try Psalm 95 : 1-2..?

I'll willingly admit that that's true. (An excellent BBC short biopic series on the life of Beethoven, very recently, was very good indeed...). BBC iPlayer : Being Beethoven ...

So, no 'biopics' about Mozart, or Beethoven, or ... Bowie, or Zappa, or ... Ravi Shankar, or Bob Dylan either..? Why is 'more' not just 'more' (as long as viewing is not mandatory; I don't see the issue...)..?

There's a matter..?

When I'm not washing the dishes, maybe. ...

It tells me that you've not understood the contradiction. Someone not making a living from dishwashing, but for whom dish-washing is the most important thing in their life (as is your case, with music...) could well describe themselves as 'dish-washers'. Some folk do gardening as a hobby, and are very enthusiastic about it. They could see themselves as 'gardeners', whatever their source of income. Some could be 'athletes'; there are many that see themselves as 'housewives', others 'collectors'. How one sees oneself is more a matter of one's primary interest (most important thing ...) than their employment, in many case, including your own. Nothing special there; move along, or you'll block up the pavement.

I see a contradiction in your question. If we exchange 'dishwasher' for musician' in your first sentence, one could very easily imagine that person thinking of themselves as being a 'dishwasher' (substitute any occupation; coal-miner, engine driver, check-out person, ditch-digger...). If it is indeed the 'most important thing' in their life, as music is to you, what's the problem..? That's not the same when describing what one does for a living, as per your own statement; you are a musician, living from it or not. A person doing dishwashing for his/her livelihood, may well not think of themselves as being solely a 'dishwasher', but maybe a musician unable to earn a living from music (substitute any other occupation that doesn't pay the bills for 'dishwasher'...). Anyway, I'm retired; what should I claim to be..?

One may read, write and speak with no formal knowledge of grammar and punctuation, but it's much better with at least a working knowledge of the basics of these. Communication with other musicians (including your tutor...) will be much improved with these basics. It's only hard for the first forty years or so, after which things sometimes tend to get slightly better.

I used Sunlite, which is free (but powerful...) software, driving a Dmx interface. The base interface model, which will do everything you'd ever want for a group, costs just under £200. I still have mine, from a couple of decades ago, and it works just fine, coupled to a laptop USB-C port, or with a stand-alone mode. Here's the gen on these... Sunlite Lighting Control ... I prepared my scenes at home, using the 3D modelling built-in, and 'tweaked' as required for the venues. You can download the software and try it out, without the interface, for free. Worth a look..?

There's plenty enough Dmx channels with such a set-up without the need for a separate Universe, but some controllers are better suited to static fixtures, others made for dynamics, so it can make sense to have dedicated controllers for each. It's less of an issue when using lighting software with simply a Dmx interface, though.

So, Tim, we meet again..! There is shirley some subtle difference I have overlooked in my dotage; pray tell..?

I did the lighting for several years for a touring band (Kiemsa...); moving heads can be a pain in the wotsit unless you're playing very similar venue dispositions, or can programme them very swiftly on site. I used a laptop and lighting software (Sunlite...); one has to compensate for fixtures being suspended upside-down, or being at different places/heights around the stage. Having programmed effects such as having all fixtures moving in to spotlight the singer, solo, then moving out to pinpoint other players and such imply having a pretty well fixed stage disposition. For touring theatre-type venues, this can happen (we supplied a lighting rig sheet with the tech spec and riders...), but there was always programming to be done whilst setting up, and sometimes while the opening numbers were being played..! I wouldn't recommend moving-heads unless there's a lighting person, or a very simple set-up indeed. Excellent once it's all nicely set-up, but so many pitfalls. Just sayin...

All that's needed is a single monitor feed to however many cabs you need for each of you to hear everything clearly. Typically, for line-up you've described, two floor monitors, for those in front, and maybe another one or two for those towards the back. These need not be enormous floor wedges; they could be smaller units, on stands, maybe, or as 'side-fill'. None of this will work, however, if you are all creating too much volume individually. Ideally, one should have the same set-up on stage as when rehearsing, play at rehearsal volume and have the PA project that out to the venue. The modern alternative is to use no back-line at all, and all use IEM, with mic's for the drums or an e-kit, but this is expensive, and has its own issues. If it's all such a problem hearing yourselves on stage : turn it all down.

I'm a drummer; I've been playing acoustic kits for well over half a century, at all sorts of venues. If a drummer can't hear what's going on, there is quite certainly far too much volume being generated on stage. If things are worsened by using ear protection, doubly so. The first course of action is to have stage volumes at a level whereby all of the instruments, including the drums, can be heard clearly by everyone. For vocals, including BV, some sort of monitoring (foldback...) is reasonable, with either cabs or earphones. There should be no downside to this, in any configuration, except for those that insist that 'their' sound can only be obtained with everything at '11' (this includes some tree-felling drummers...). Without the stage sound being mastered, there is no easy, inexpensive, simple solution; the best way forward, in every case, is to master the stage volume first. Hope this helps.