steve-bbb

[quote name='TimR' timestamp='1394443145' post='2391264'] <shakes head in disbelief>... [/quote] jeezus does nobody do friggin irony and sarcasm on this site anymore lighten up people

well we have finally been certified... or is it certificated? im old and easily confused all very painless and simple - we just turned up at rehearsal rooms - nice local elastictrickery people came with their pat machines and plugged it all in and stickered it all up (minus a couple of naughty gaffer taped items by our guitarer) so now we have PAT and PLI for any jobsworth events bookers who care to ask to inspect it roll on the big megabucks corporate gigs please but not holding my breath waiting though

personally i would include this in the 80/20 syndrome 80% is your style as determined by your fingertips 20% is the shiny hope this helps

[quote name='bubinga5' timestamp='1394273256' post='2389713'] that is fantastic.!! [/quote] did you listen to the rest of the album?

checked it out on spotify sounds really good

[url="http://youtu.be/K-hb2mX8YEc"]http://youtu.be/K-hb2mX8YEc[/url]

Billy Cobham, Chaka Khan, Gino Vanelli, George Duke, John Schofield [media]http://youtu.be/FP_6sLrDwXE[/media]

[url="http://www.mediamonkey.com"]http://www.mediamonkey.com[/url]

absolutley delighted with my three distinct tone options thank you status tone - squierJ with wizard hammers tone - yamaha trb tone all through a stack of hartke loveliness what more could i want

[quote name='Dingus' timestamp='1394138000' post='2388435'] i love this series too, but I think there should be another series about crap albums. [/quote] definitely maybe

[size=5][b]Ten Commandments of Guitar Playing[/b][/size] [b]1. Listen to the birds.[/b] That’s where all the music comes from. Birds know everything about how it should sound and where that sound should come from. And watch hummingbirds. They fly really fast, but a lot of times they aren’t going anywhere. [b]2. Your guitar is not really a guitar. [/b] Your guitar is a divining rod. Use it to find spirits in the other world and bring them over. A guitar is also a fishing rod. If you’re good, you’ll land a big one. [b]3. Practice in front of a bush. [/b] Wait until the moon is out, then go outside, eat a multi-grained bread and play your guitar to a bush. If the bush doesn’t shake, eat another piece of bread. [b]4. Walk with the devil. [/b] Old Delta blues players referred to guitar amplifiers as the “devil box.” And they were right. You have to be an equal opportunity employer in terms of who you’re brining over from the other side. Electricity attracts devils and demons. Other instruments attract other spirits. An acoustic guitar attracts Casper. A mandolin attracts Wendy. But an electric guitar attracts Beelzebub. [b]5. If you’re guilty of thinking, you’re out. [/b] If your brain is part of the process, you’re missing it. You should play like a drowning man, struggling to reach shore. If you can trap that feeling, then you have something that is fur bearing. [b]6. Never point your guitar at anyone. [/b] Your instrument has more clout than lightning. Just hit a big chord then run outside to hear it. But make sure you are not standing in an open field. [b]7. Always carry a church key. [/b] That’s your key-man clause. Like One String Sam. He’s one. He was a Detroit street musician who played in the fifties on a homemade instrument. His song “I Need a Hundred Dollars” is warm pie. Another key to the church is Hubert Sumlin, Howlin’ Wolf’s guitar player. He just stands there like the Statue of Liberty—making you want to look up her dress the whole time to see how he’s doing it. [b]8. Don’t wipe the sweat off your instrument. [/b] You need that stink on there. Then you have to get that stink onto your music. [b]9. Keep your guitar in a dark place.[/b] When you’re not playing your guitar, cover it and keep it in a dark place. If you don’t play your guitar for more than a day, be sure you put a saucer of water in with it. [b]10. You gotta have a hood for your engine. [/b] Keep that hat on. A hat is a pressure cooker. If you have a roof on your house, the hot air can’t escape. Even a lima bean has to have a piece of wet paper around it to make it grow. enquiring minds click [b][url="http://dangerousminds.net/comments/captain_beefhearts_ten_commandments_of_guitar_playing"]here[/url][/b]

and in other recent articles..... [b] [url="http://time.com/12229/mother-of-invention-new-strain-of-acne-causing-bacteria-named-after-frank-zappa/"][size=4][b]Mother Of Invention: New Strain Of Acne-Causing Bacteria Named After Frank Zappa[/b][/size][/url][/b] [b][size=4][b]and[/b][/size][/b] [url="http://dangerousminds.net/comments/sleeping_in_a_jar_amazing_naughty_frank_zappa_animation_from_the_late_60s"][b][size=4][b]‘Sleeping in a Jar’: Amazing naughty Frank Zappa animation from the late 60s[/b][/size][/b][/url] [b][size=4][b] [b][size=4][/size][/b][/b][/size][/b]

35th Birthday this week! [url="http://en.wikipedia.org/wiki/Sheik_Yerbouti"]http://en.wikipedia..../Sheik_Yerbouti[/url] ..... [url="http://www.allmusic.com/album/sheik-yerbouti-mw0000204098"]http://www.allmusic....ti-mw0000204098[/url] [media]http://youtu.be/Fk10rtqXbl8[/media]

[quote name='bonzodog' timestamp='1394020070' post='2386933'] Just wondering how much you monitor your clip lights. I use a Hartke HA3000 and am always doing my utmost to avoid the amp clipping at all which can be hard with my Fender MP with humbuckers. I often see other bass players allowing the amp to clip more and last week the bass player with the band we played with had his amp flashing red all night long. We used our own amps so wasn't too fussed but just wondered if I was being over cautious [/quote] Maybe upgrade to one of the newer LH500 heads , from the blurb I've read the pre stage is designed to not clip at all I have the 2500 head and with tone/eq settings flat it does not audibly clip even with preA and master on full

[quote name='Annoying Twit' timestamp='1394052130' post='2387480'] I've got the Zappa plays Zappa DVD. It's done very, very, well in my opinion. Dweezil really has learnt to reproduce his late Dad. [/quote] yes i saw them at RAH - very good facsimile indeed - shame bozzio wasnt playing that night but Napoleon was amazing

[quote name='xilddx' timestamp='1394051932' post='2387477'] Superb idea! Thanks mate! BTW, was it you who lent me the Zappa interviews in some old mags at the BassBash? [/quote] haha i knew you'd be along soon yes twas I - but i didnt lend them i gave them - feel free to pass on freely

as it says here's an opener [url="http://dangerousminds.net/comments/on_missing_persons_frank_zappa_and_women_in_rock_dale_bozzio_speaks"]On Missing Persons, Frank Zappa, and women in rock: Dale Bozzio speaks[/url]

[quote name='JTUK' timestamp='1394005667' post='2386713'] This is where a clenched tense approach to playing kills you...but that would be a MAJOR MAJOR technique shift. [/quote] [quote name='hiram.k.hackenbacker' timestamp='1394006412' post='2386719'] The trick is to completely relax the fretting hand to the extent where I just lay all four fingers across the fretboard and you would be hard pushed to tell what is being fretted. [/quote] +1

should read... [b] [size=5][b]Harry Styles' hometown named 'least musical' in Britain by lazy journalist[/b][/size][/b]

both alternately in rapid succesion in synch with your fingering octaves sort of cross between mosh pit and can-can

you could always distract them with your foot provocatively up on the wedgies

yes i used to play this one too as 'p_im' instead of 'i_im'and they used to cause same problem - not sure what ive done but ive managed to get myt technique somewhere now whereby it is easier to play so much so that i often wonder what all the effort was about i think the key to this type of thing is that it should not be strenuous - imho and from my own experience if you are using too much effort and ending up with a forearm like popeye then it is most likely technique that needs adjusting - the difference in technique is quite subtle for me and i am struggling to put in words exactly what i have done to remedy this but i do know that my technique has changed to make these type of lines more manageable edit - the main thing i can think of is is the mental attitude to the timing - i think that i always used to play this as if i was 'reacting' to the tempo, the mental mindset leaves you feeling like you are constantly just behind the beat and always putting in that extra effort to stay up there on the beat - i do think that i have changed my perception of the timing slightly so that now my thinking part of my brain is trying to be ready in anticipation before the beat so that im there on the beat with minimal effort - i know this sounds a bit vague and tenuous but for me this is the main improvement i have made as my physical playing style hasnt really changed a great deal in the last two years apart from growing slightly more economic

ta muchly