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grandad

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Everything posted by grandad

  1. ĴĴ ČÃĹẸ ǪǗỖŤẸŜ #26 “You might be right there. I hear my influence in other artists,” he agrees. “That’s standard. When you do something and you have a quirkly little style and people like it, then other musicians pick up on it. Guitar players are the greatest at stealing from each other. I steal from everybody else and they steal from me. That’s how we all advance the art of music.” (Brian Wise, Rhythms Magazine, August 1996)
  2. Over my time, say 20+ years, I've played for nothing and at most about £200 for a gig. I would guess most would have done similar. Never my main employment and untrained, I describe myself as amateur. Certainly the venues played for free are different to those paid in my view. Having given up gigging with a week-end covers band I can say I'm enjoying it more than ever. The pressure is off to perform or please anybody other than yourself, (hopefully though others too). I think a wide variety of venues is healthy. Music at every level from beginner to professional has to exist and allow progress to happen. It has to be fluid.
  3. https://www.conservativewoman.co.uk/off-the-beaten-tracks-jj-cale-ill-take-the-fortune-not-the-fame/?fbclid=IwAR3jdADI6Ftg-jcSmsemQf02WZFjLwpgJALOfny0V2XhYrlFZYDetKafDqA
  4. Well I suppose I like to experience some level of jouissance from Art in all genres. If that is not there then it's not for me.
  5. "In more extreme forms of the genre though, the lyrics can get downright disgusting. Whether it be about cannibalism, rape, self-mutilation, or sexual deviancy – for better or for worse (mostly the latter), heavy metal has had some of the most deplorable and abhorrent messages scattered across its twisted backbone over the years." I'm afraid to say there is some truth in the above quote. I really don't want to listen to such stuff. I think some Zappa is probably the heaviest music I would listen to nowadays. I like his tongue in cheek attitude. My current delve through the history of C&W has lead me in the opposite direction to seek out 'nice' music. Nice to listen to, nice to play, nice to sing along to. That and back to practicing with my Jazz quartet, which of course is nice.
  6. Rosewood fingerboard I use teak oil sparingly about once a year. Maple fingerboard & guitar body I use this:
  7. I settled for the BH250 into 1 or 2 BFOne10s. I can't see me ever changing my amp or cab again.
  8. J.J. Cale: “The first album was a collection of tunes I’d been working on for about 32 years,” “It was a collection that refined everything that had come out of me and weeded out all the bad ideas I’d had over 20 years. But, when it was successful, the record company wanted the next album in six months. When you get successful, the money comes in and pretty soon you’ve got to hire an accountant, you’ve got to get up early, and then you’ve got a day job. The management was – was, you know, hey, John, why don’t you make another – another record? And I go, oh, ain’t nobody wants to hear -- You know, I’ve already did – I have a hard time with not trying to imitate myself. After you – after you’ve made so many records or you wrote so many songs, pretty soon, you know, you – you think – your songs all start sounding – you start sounding like a song you’d already written ten years ago or fifteen years ago. That’s kind of what’s rough about making a new album at my age and as long as I’ve been in the business or the music kind of a thing, is – is to keep from imitating myself, so I have to listen to it and go, you know, that sounds like a song that was on my third album, you know? And that’s kind of rough. I – I guess I semi pulled that off. You can probably bust me on a couple of songs but there was no particular inspiration. I’m always writing songs just to entertain myself. Photo by Michael Putland
  9. I have both Roqsolids & Hotcovers. Both are well made. Hotcovers offer more protection against knocks in that they are well padded. The basic Roqsolid is fairly thin in comparision but they do offer an extra padded option for a little more money. I've always been fussy about protecting equipment and not skimped on getting something that does the job well. Even my bits & pieces travel in one of these:
  10. An opportunity here to discover just how good and just how lightweight these are!
  11. Free to collect from near Tamworth: A few dozen frames, mostly new, some made up, some not. Some foundation. 3 nucleus hives. 2 new supers.
  12. I take my hat off to those here who are competent in the black art of compression. I'm just thankful for my 1 knob Spectracomp control which I use sparingly.
  13. I use a TC BH250 with the Spectracomp at about 9 o'clock-ish, into 1 or 2 BF One10. To my ears it just thickens up the sound a bit giving me the warmth I like. I expect it evens out the dynamic range a bit too. I certainly do not want to have to fiddle about with attack and decay and thresholds etc. One knob does it for me, others of course will quite rightly disagree. When I was younger I would probably have enjoyed something with loads of twiddling possibilities and also delved into the theory. But I can't be bothered nowadays so I'm pleased to use my 'off the shelf' Spectracomp, it's just the job. 🙂 Go with whatever sounds good to you.
  14. How would I describe my bass tone? Like cold butter on warm toast. 🙂
  15. I've already mentioned elsewhere that I regularly practice with my imaginary Lazy Country Jazz band and have been composing a playlist. One song I looked at was 'Going Up The Country' by Canned Heat. Browsing Youtube I came across this: Remarkably similar sentiment & format!
  16. A bargain to be had there. I eventually ended up with a 5016 upgrading from a 512. Years of trouble free gigs. Speakers were EV Sx300 & SB 122. I've gone light-weight now to an EMX2. However, I use the master volume to feed 2 EV SM-40 monitors on stands as vocal foldback. FOH is 2 Yamaha DBR10, active. So the powered mixer feeds the passive 4" monitors and the AUX o/p level feeds the FOH - which could be any active speakers. This was my solution and I can't think of a lighter weight solution. The heaviest item is still my bag of leads & connectors. Edit. This is just for vocals though.
  17. I'm afraid my experience is only with the One10. I bought it to downsize without ever hearing it beforehand. So impressed was I, I bought another. If you bought any of the BF range, 10's or 12's you could live with them for a while, get to know if they are what you want, and/or not, move them on with minimum loss.
  18. I have noticed a tendency for singers to begin singing at near maximum volume at the start of a song and leave themselves no where to go towards the end. I tend to switch off these so called power songs. Much better to employ good microphone technique whereby the intimacy of the voice can be put to good use without straining, and the subtleties heard. Use the fact that we now have amplification. Folk often mention Sinatra's technique and listening to him his diction is good and he never seems to strain to sing any note. There are a few others. It's not 100 years ago when a singer had to have power in their voice to fill a theatre. As for Opera singers I'm sure they know what they're doing and I wouldn't comment, mostly though not my cup of tea.
  19. What have I been doing today? Well not a lot really. I did practice a while with my Imaginary Country Jazz Band. The singer's a bit weak though and the harmonies virtually non-existent.
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