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EliasMooseblaster

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EliasMooseblaster last won the day on May 18 2018

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About EliasMooseblaster

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    Complete derrière
  • Birthday 31/07/1985

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    London / Surrey

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  1. Not a local myself, but I did head down to Dereham for three consecutive summers, when Cherry White played their local blues festival. That was always well attended (obviously one has to enjoy blues or blues-oriented music), but I got the impression Dereham was quite lively as far as music was concerned. The Cherry Tree seemed to have a pretty busy programme of live music throughout the year.
  2. Sounds relatable. The last time I gave my CTM100 a proper workout, it was into my Berg 2x12 at an outdoor gig without any PA support. I was also asked to turn down!
  3. I believe they developed an 8-string in the '70s - John Entwistle played one of the prototypes on The Who's Success Story. Whether it made it to market, I don't know, but I think it was based off the 4005 design. In any case, this sounds like quite an exciting development!
  4. How quiet do you need to be? I dare not use mine after Mini-Mooseblaster's gone to bed, as it would wake him straight back up again, but if you've no small offspring to worry about then you can get a bit more clarity at lower volumes by flipping the "bright" switch. It'll never get down to the sociable volume levels of your PC speakers, for instance, but it should be pretty workable as long as it's not right up against your neighbours' walls.
  5. I think you've inadvertently answered the question yourself - whereas ITV, Channel 5, etc only had to fill one schedule back in the day, someone at the top of their respective operations clearly felt they needed to expand to remain competitive with other channels. Unfortunately, more channels means more schedules to fill, and a need to try and attract an audience to each of them. Of course, they could have gone for arty and highbrow content instead, but I presume the same people who gave a green light to these new sub-channels, simultaneously glanced at the viewing figures for BBC Four, and decided that brainless, low-brow cobblers was the way to go...
  6. I'm surprised by the paucity of true "pop" artists in this list so far - does nobody get requests to play Kylie Minogue, for instance? (I mean, nothing gets a crowd going quite like Where the Wild Roses Grow...)
  7. I believe Rotosound do this, at least to some extent - the "standard" stainless steel RS66s have red silks, whereas the nickel ones have light blue. I've not heard about anybody varying the colour for the gauge of the set, but... ...D'Addario, and more recently Rotosound, put different-coloured ball ends on their strings so it's easier to keep track of which string is supposed to be 1st, 2nd, etc. I wonder if anybody's thought about extending the colour scheme to denote lighter/heavier gauges.
  8. I agree with you - I've seen (and been guilty of) plenty of laziness, and - my god - have I ever seen the above martyr complex writ large! But I wonder whether Andy's situation is one part laziness to two parts ignorance. He mentions that the band are all mid-30s upwards (not that this is a problem in itself), but I have observed that the older some musicians get, the more wedded they become to the "old model" of doing things. Their drummer clearly thinks that if they plough time and money into re-recording one of the songs with extra unicorn dust, they'll be able to waft it under the nose of some publicist or booking agent who'll pluck them out of obscurity and make sure the whole world hears and adores them. Which, as plans go, is obviously cobblers. But then, our drummer insisted that the only reason we weren't already filling stadiums was that "our show wasn't good enough." I don't know if it's coincidence or not, but he was the oldest member of the band; in any case, he believed dogmatically that if we just quit our jobs and toured more intensively, our fortunes would just magically reverse one day, and we'd rolling in it*. He scoffed at the idea that I was making better progress by pushing it to audiences via social media. When I pointed out that I'd sold more CDs that way than we'd at all of our gigs that year, it obviously stung: he grumbled that perhaps we should stop playing live altogether. A few weeks later, he tuned back into the same old channel and was banging on about how it was high time we quit our jobs and hit the road. It can't just be an age thing, because I know there are plenty of people on here who are older than him and far more savvy about this kind of thing. But it did feel like there was an aspect of Old Dog / New Tricks about it. *Also known in some circles** as "The Underpants Gnomes' business model." **me, when he was out of earshot
  9. Your drummer sounds exactly like ours. Andy, you are completely in the right in this case: the music will not market itself. The "build it and they will come" mentality is a surefire recipe for ensuring that your EP remains ignored. It does not have to be the most "professional-sounding" record for people to listen to it and, heck, maybe even buy it. A fraction of that sum spent on well-thought-out advertising will do far more for the band than retreading old ground in the confines of a more expensive studio and arguing about when the backing vocals should come in. Get that EP in front of an audience, and use the knowledge and experience gained to improve your next recording. If you can market it well enough, you may even be able to raise some capital to go towards a producer for the next one!
  10. Ooh...thank you for the tipoff - I've obviously only heard it at the wrong times of day!
  11. This is probably the extent covered by the initial lasso of a station like Planet Rock, isn't it? Notice also how they tend to only play a very narrow selection of stuff by The Stones (Brown Sugar or Start Me Up, perhaps?) or The Who (generally only the ones that got picked for CSI title credits), despite them generally being considered a little on the influential side everywhere else. Oh, and nothing too psychedelic either - Hendrix and Cream sneak in as a rare breath of fresh air on that station some days...
  12. Not quite the same story, but I found myself in a similar rut about ten or eleven years ago, once the two bands I had going were dwindling in activity. It became apparent that if I wanted to devote more time and energy to music, I would have to set off without them, so I started loitering around jam nights in town. Not all of them were worth going to, in hindsight. And yes, you will no doubt wince at the number of times you're asked to do a 12-bar blues, or have to put up with some Bob Dylan wannabe who gets butthurt about the other musicians not knowing Ballad of a Thin Man, or whatever, but at least you'll get to meet a lot of other musicians very quickly. And they almost always need good bass players. By analogy, if you compare it with answering a band's advert and going along to try out, a good jam night can be more like speed dating. It's still no guarantee of success, but at least you get to scope out more of the local scene more quickly.
  13. Wow. That drummer does not look happy.
  14. Ugh. I felt slightly nauseous after reading that. But also, what part of him thought it was a good idea to discuss this in such disturbing detail in a public interview? "So, you're here today to promote your new tour?" "That's right, Holly. And while I'm here, I'd like to make absolutely sure that my few remaining fans know I'm a raging nonce."
  15. From looking through this thread, I think it's fair to suggest that everyone has a different threshold of "setupness" below which they would start to have doubts about the instrument. At the very least, I think there's a border you cross between "hmm, that's not how I like it, but I can fix that", and, "does this just need a little tweak, or is there a fundamental flaw in this guitar?" And I guess that border will shift depending on how much confidence and experience you have in adjusting necks, bridges, nuts, etc, as well as the price tag on the instrument. I'm happy to adjust nut slots and bridge saddles, for example, but much more reticent to play around with the truss rod more than I absolutely have to: I'd find it much harder to judge whether a bowed neck could be fixed, and that might put me off. Though I might be more inclined to risk it for a £200 bass than a £2000 bass - so I can see why the examples you tried might have come as more of a shock!
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