casapete

Just found this - explains all I think. 🙂 http://www.voxshowroom.com/northcoast/hofner/hofner_parts/hofner_strap.html

From my experience with Hofners, it would seem an accident just waiting to happen. Maybe the end pin had already come adrift so it was a bodge for the photo shoot? Also he attached the other end in an interesting manner in the early days.

Seeing as we're putting up pics of old tuners, here's mine! Korg GT6, bought for me by an ex-girlfriend in the late 70's. I remember feeling so flash being able to tune up in the dressing room before a gig. Unfortunately nobody else in the band had one so I used to end up tuning all theirs too, including an Ovation 12 string and a 6/12 string Gibson double neck copy that was a mare to get in tune due to the bolt on necks creaking when doing it.

Motown Chartbusters - any of them really but always have Vol.3 to hand (silver cover) Bruce Springsteen - again, could be any really but currently 'The River' Southside Johnny and The Asbury Jukes - 'Better Days' Little Steven and the Disciples of Soul - 'Soulfire' Aretha Franklin - 'Queen of Soul : The Atlantic recordings'

Great amp / price - got to be worth a look!

+1. Any pics too please Tom?

Have you thought of the later / current Fender Rumble stuff? 100 watt version only around £269 new, less than £200 s/h - one on ebay at the moment. As our USA friends might say, an awful lot of bang for the buck. Also very portable, weighing next to nowt.

I've known bands who (when electronic tuners became popular) would tune their 2 guitars slightly out with each other, to give that 12 string fatness to the overall sound. Just a few cents difference on the dial was enough to do this apparently, without making everything sound wrong.

Beat me to it! Losing a day in the studio because of tuning sounds more serious than the tuners themselves. If they'd been that far out surely just using one tuner would have sorted it? Chances are the guitars and bass were not set up properly for intonation, or even just old knackered strings etc as steve-bbb has pointed out.

I do this. Cab lives in a flight case so no castors on the cab itself, and I prefer the sound of the cab on the stage floor. Should it be very boomy I just leave it in the 'tray' of the flight case (ie - on wheels) and it sorts things. Some guys like the use of the Gramma pads to isolate the boom too.

I very much doubt it, and if there is I think it will be impossible to tell the difference. I've been in bands since electronic tuners were first used, and even the early ones were very accurate and consistent. In fact I still have my first one, a Korg, which I still use for setting my instruments up.

We're going to see Yola in a couple of weeks, so good to know. I got the album, really good.

I agonized over what bass(es) to use for ages. Gibson G3 Grabber was a favourite of Kelly's in ELO, along with the Ovation and sometimes a Jazz. Unfortunately an accident leading to a shoulder injury stopped any thoughts straight away (Gibsons around 10lbs and Ovations even more!) so had to settle on my sunburst Precision Lyte. At around 7lbs it means I can do 2 hrs of playing without too much bother. I do confess to previously being seen in a 70's style velvet suit but fortunately now we go for the more recent Jeff Lynne's ELO look of black jacket / jeans with a grey T-shirt - thank god......😄

I play bass in The ELO Experience, doing mainly theatres around the UK. We often do Swansea Grand Theatre, last there in November 2018. Always a good gig for us.

We play Swansea fairly regularly, and was saddened to see Cranes has closed down. We always went there for a mooch round and bought stuff - great staff and nice vibe. Another victim of the internet according to local news. 🙁

One of mine has already been done - the house band in Chuck Berry's 'Hail Hail Rock n Roll' film. Guitar / MD - Keith Richards Piano - Johnnie Johnson Bass - Joey Spampinato Drums - Steve Jordan Organ - Chuck Leavell Sax - Bobby Keys A few choice guest vocalists as well (Eric Clapton, Robert Cray and Etta James)

I've played with a couple of keys guys like that. Can be very annoying, especially when they don't get the correct lines that you're playing and it ends up just wrong. Then when their big solo arrives, the left hand goes surprisingly static...

Think I feel a 'holiday' to S.Wales on the cards....

Didn't realised you'd bought something - pics would be much appreciated when it arrives. Cheers.

Good point! In my acoustic duo I tend to sit to the right of the guitarist for that reason. However, with some of the chords / inversions he can play it's not much use to me to be honest 🤣

LOL, me too! We do mainly theatres, and every now and then the black curtains at the side of the stage (legs I think they're known as in the theatre dahling) turn out to be solid, meaning if I catch my headstock on them it can be quite a jolt. Likewise trying to part them when walking offstage can be embarrassing too. 😄

I prefer stage left for the reasons you outline. I also prefer to not be next to the keyboard player, as we cover partly similar sonic ground and it can get a bit confusing! Not a problem if you’re using IEM’s I know..... Having said that, on some gigs it isn’t always possible to set the way you want, and we just get on with it. Can even be a refreshing change 😀

He did play some brass instruments in the studio, so maybe did live too? French horn on ‘Pictures of Lily’ ?

Looks ace, good job sir! 👏