Panamonte

I bought Kyle's Boss DD-500. Easy, quick, hassle-free deal. Could not have been smoother. Top bloke.

I bought a delay pedal from John and can only echo (arf arf!) what others have said - top bloke, pleasure doing business with him.

All Gates Open: The Story of Can by Rob Young & Irmin Schmidt. More than a music biog - a really interesting and thought-provoking read.

Bought a pedal from Alex. Very well packed, swift despatch, great comms. Another exemplary BC transaction. Thanks Alex!

John Wetton throughout his time with King Crimson, but particularly this from c.4.30 - P bass through a Hiwatt head I believe.

Blimey, I thought the name rang a bell. I used to rehearse there about 30 years ago. And did some recording at Triple X studio on the same industrial estate.

1983. We took a 3 track demo around the A&R departments of CBS, Virgin, RCA & Arista demanding a 3 album deal with a £100,000 non-recuperable advance (because our mates had got that deal from Chrysalis). Stipulated that they could only listen to the demo while we were in the room. We were offered a £20,000 one-off single deal by CBS after a meeting with Muff Winwood. Turned it down on the grounds that they weren't showing enough commitment. Oh the joys of being 19 and cocky!

Hey, even Tony Levin makes mistakes. Here's a recent blog entry to prove it. It refers to a King Crimson gig earlier this week. Apparently the punters didn't notice [color=#1D2129][font=Helvetica, Arial, sans-serif]"Some of my friends in the audience thought tonight’s show was even better than last nights, and maybe it was.[/font][/color] [color=#1D2129][font=Helvetica, Arial, sans-serif]But there was one train wreck. And a Crimson train wreck is, well, not like other bands… a King C[/font][/color][color=#1D2129][font=Helvetica, Arial, sans-serif]rimson train wreck takes out the whole train station. And maybe the town it’s in! Allow me to explain. It happened during “The ConstruKction of Light”, a particularly complex piece. I’ve mentioned in a few interviews that to me, Trey Gunn’s touch guitar part on that piece is the best I know of, for utilizing what the instrument can do, and complementing the music in a unique way. But it’s really tricky… took me ages to learn, and even now that I’ve got it down, things can go wrong at any point. And tonight, things indeed went wrong. It’s hard to say where it began… hard, not because I don’t know, but because I know it was because of me! Only a little error… pausing four beats instead of six. (there are various pauses of both lengths in the piece.) But in this piece, we’re not all playing in the same time signature, so the two guitarists, hearing me enter early, didn’t know when to enter with their parts… opted instead to let me keep going on my own. And I did keep going. The drums are out in that section, so it was just me, playing on and on in a complex eighth note pattern, hoping someone would come in. That lasted for ages (to me) and finally the drummers and I came together with the 15/8 figure that signals the end of what could be called the verse. But then, a new issue.. would the guitars enter with verse two, or, not having played anything yet, start in on verse one. Alas, they didn’t agree on that. They came in with both, hence in different keys! The ensuing harmonic mess left them no choice but to stop again, leaving… you guessed it, just me playing alone again. By now, we certainly knew we had a problem about how to bring this piece together. There’s no just counting ‘one two three four’ when one player’s in 28/8 and others in 7/4 offset a quarter note from each other, and the drummers waiting to join in in 15/8 to signal finally getting beyond the verses! I could have just stopped and admitted defeat (maybe thrown up my hands and shouted “Thank You” in a Spinal Tap maneuver.) But, right or wrong, (well, wrong or wrong) I persisted.[/font][/color]

Alternatively, I find that this will fit in a suitcase. [URL=http://s1187.photobucket.com/user/panamonte/media/2016-06-11%2022.59.25_1.jpg.html][IMG]http://i1187.photobucket.com/albums/z394/panamonte/2016-06-11%2022.59.25_1.jpg[/IMG][/URL]

http://youtu.be/y4YoXGBoiSg

[url="http://s1187.photobucket.com/user/panamonte/media/Ella.jpg.html"][/url] Well, unless Ella has added unacceptable signal to noise ratio, wow & flutter and drop outs to her phenomenal vocal technique...

So THAT'S why you take a spare guitar.

Hooray! Wishing you both every happiness.

I've had one of these for a couple of years: https://totalsounds.co.uk/rocknroller-multi-cart-rmh1-mini-handtruck-p-4336.html Compact and sturdy. Means that I can travel on buses and trains with a full gigging rig. Highly recommended.

Loads of Hawkwind, King Crimson and Van der Graaf Generator tunes to choose from. Guaranteed floor-fillers down the Dog & Duck

Well spotted and thank you.

I'm surprised Gail Ann Dorsey hasn't been mentioned. So that's why I'm mentioning her. Super cool IMO.

Loved that album - must dig it out. Thanks for reminding me of its existence.

[quote name='SH73' timestamp='1485508344' post='3224403'] Hi, Out if interest, where did you get the parts as I am after a p bass body and p bass neck with tuners for a project. [/quote] Worth keeping an eye on the Other Musically Related Items For Sale section. I picked up a fully loaded P bass body from there for £40 in November. Replaced the loom and pickups, fitted a spare neck I had and - voila - lovely P bass! Having a quick look I found these: http://basschat.co.uk/topic/296079-sonic-blue-precision-bass-body/page__hl__body__fromsearch__1 http://basschat.co.uk/topic/295292-squier-p-bass-neck-l49/page__p__3177502__hl__neck__fromsearch__1#entry3177502

Bought a pedal off Rory. All happened very quickly and smoothly - pedal arrived well packaged and in great nick. Great comms throughout - delightful bloke to deal with.

@tom1946 That Legend neck has been sitting around, unattached, for the last six years and I'd forgotten how nicely it plays. (The Legend J body it was originally attached to currently has a Squier CV J neck and Wizard 64s.) I bought the blueburst P body here on BC a month ago. The seller wasn't sure what its origins were, but there was a suggestion that it might have come from a Benson bass. Anyway, I couldn't be happier with the result and it cost a fraction of most of my other basses.

I've also just noticed that the pickup position is different on each bass. The distance from the 12th fret to the line where the EA/DG halves of the pickups meet is: Bitsa - 295mm Fender - 287mm Squier - 282mm So I guess that makes a difference too. Right, I need to put the tape measure down and wrap some presents.

Apologies for the delay in The Big Reveal - it's that time of year! Many thanks to all of you who commented - very interesting to hear what you had to say. Here are the basses in the same order, from left to right, as they appear in the recording. [url="http://s1187.photobucket.com/user/panamonte/media/3%20P%20basses.jpg.html"][/url] 1. Bitsa P with Aguilar pickups and DR Lo Riders 2. Fender Am Dlx P bass with Fender 62 RI pickups and Elixirs 3. Squier MB4 with Fender Deluxe pickups and Chromes Like some of you, I actually like the sound of the bitsa best (maybe because it's the newest addition). I'll get a chance to play it in a band setting in a couple of weeks, but playing it through my rig at home it has a bit more of a low mid thump than the Fender so I think it will work very well. As regards the Squier, I wonder how much the fact that it has an 'upside down' pickup rout contributed to it sounding a bit different. The Deluxe pickups that I put in it definitely have a more polite, modern sound than the two others. Anyway, thanks again for joining in and I hope you all have a very enjoyable Christmas.