SteveK

[quote name='Twigman' timestamp='1340364886' post='1703331'] and a third: 3. Is illegal distribution really really such a bad thing or an opportunity for free marketing? [/quote] [quote name='Skol303' timestamp='1340377719' post='1703734'] Good question, and I think the answer depends on who you ask! [/quote]Yeah...good question! If you ask those that care about music, make a living from music or involved with music in any serious way, they would most likely tell you it's a 'bad thing'. Ask those individuals that jump at the chance of getting something for nothing, then I'll wager, you will most likely get a different response. As for [i]'an opportunity for free marketing?'[/i] who exactly are you to decide how a band should be marketed? If a band wants 'an opportunity for free marketing?' then it should be their decision. [quote name='flyfisher' timestamp='1340356259' post='1703156'] Yes, it is wider than music but it's not always stealing. There is a large and growing 'open source' movement in the software world and there is loads of 'freeware' out there. Similarly, there are loads of bands that allow their music to be freely streamed and some even give away their music. Heck, a lot of bands play for free and, as we have discussed, some even pay for the privilege. Such things might undermine the market for selling such things, but that's life. It's hardly reasonable to make it illegal to give away music [u][b]with the copyright holders permission[/b][/u], is it? [/quote]With a slight adjustment, I would agree with your post. As I said, it should be the artists/copyright holder's decision.

Would've contributed much sooner to this thread if it were not for the fact that I've just spent 4 hours down t' local nick, trying to explain to plod that the Odeon management had no right to deny me free admission, on account that if I liked Men in Black 3, then, I might buy the box set...I mean, nobody's actually losing out, are they? What a depressing thread! Thought this was a site for musicians...jeez!

[quote name='chaypup' timestamp='1339594994' post='1691114'] The record company don't know exactly how many gigs or dates but say it 'should' be 2 or 3 gigs a week for July and August and all would be well paid. The only date they know for definite is at a good venue in London [/quote] Considering how close July is, I would be very reluctant to cancel the holiday. If they are not sure of the dates by now, then, there is every possibility that they won't happen. Agree to do the gigs...OK, if they [b]do[/b] happen, then, you're down the cost of your holiday, but better that than no holiday [b]and[/b] no gigs. Trust me, I've learnt from bitter experience. EDIT: [i]'this seems a bit of an unprofessional way of doing things.[/i]' Unprofessional by who(?) Nothing unprofessional about not being available.

[quote name='solo4652' timestamp='1335622688' post='1633854'] [size=4][font=arial,helvetica,sans-serif]I said that I'd prefer not to have to learn any new songs for the audition.[/font][/size] [/quote]Don't be surprised to get an email before the audition along the lines of, "Perhaps you would 'prefer' to not have to do the audition at all...good luck for the future!" The message comes across loud and clear that you're not really prepared to make much effort.

There is one omission from that Wiki list. OK, he wasn't officially a member, but in 1974 a good friend and band mate of mine was touring the US with FZ, and was asked by the man himself to stand in for Tom Fowler who had broken his hand. He did the set from beginning to end, no rehearsals, nothing. Fortunately he was a big fan, so knew most of the material.

[quote name='Dad3353' timestamp='1334509780' post='1617027'] Listen, if we're going to bash anyone in this thread, why do we have to stick to poor old Peart (and I chose my words...)? [/quote]I really don't think there's been any "bashing" of Peart here. Just a discussion on a musicians weaknesses and strengths...all perfectly reasonable on a musicians forum. In any case, If there is any "bashing" in this thread, it probably started around about here :[quote name='Dad3353' timestamp='1334316211' post='1614325'] Not entirely alone... While 'hate' is definitely going too far for me (well not that far, now that I think of it...), [/quote]

[quote name='SteveK' timestamp='1334418270' post='1615998'] [b]Maybe now's the time to check them out[/b] [/quote] [quote name='Davo-London' timestamp='1334473955' post='1616507'] [media]http://www.youtube.com/watch?v=JWyABiUpihs[/media] [/quote] Or, maybe not! With the Peart clip, I feel I'm watching someone playing at the very edge of his ability (perhaps he was just rusty), and struggling for ideas.

Can't help thinking that maybe Bill Curbishly has been a little naughty and told only a part of the story. The Olympic organisers can't possibly be that dumb...can they?

[quote name='JTUK' timestamp='1334418513' post='1616001'] I think he was ahead of the game in a lot of respects and all due credit [/quote]I think he probably was, and for that fact alone, IMO, is worthy of our respect. [quote name='JTUK' timestamp='1334418513' post='1616001'] but give me Ian Piace anyday.. [/quote]For sure, another great rock drummer. Both have/had totally different things going for them.

[quote name='Davo-London' timestamp='1334415519' post='1615949'] Bonham has an incredible following amongst pro drummers. Peart doesn't. Davo [/quote] May be of interest - From Wiki: [i]"Early in his career, Peart's performance style was deeply rooted in [url="http://en.wikipedia.org/wiki/Hard_rock"]hard rock[/url]. He drew most of his inspiration from drummers such as [url="http://en.wikipedia.org/wiki/Keith_Moon"]Keith Moon[/url] and [url="http://en.wikipedia.org/wiki/John_Bonham"]John Bonham[/url],"[/i] Not trying to make any point here...this is just an observation: Over the years, I've played with more drummers than I care to remember , and I don't recall a single one of them mentioning Neil Peart. Whereas Bonham's name has cropped up on quite a few occasions. As I say, just an observation. S'funny, I know very little about Rush, which is kinda strange as they are from my era, and from what I hear, they would have ticked some of my boxes. Maybe now's the time to check them out

Not too much wrong with that. That sound clip demonstrates to me why Bonham is held in such high regard. Very nice! [quote name='Bilbo' timestamp='1334319898' post='1614422'] Peart is a metronome. Bonham was a heartbeat. [/quote]I like that

I see more rudeness in my 'normal' life, away from music.

[quote name='TheGreek' timestamp='1334065297' post='1610334'] So this is the legal position!!??...seems a bit unfair really as my favourite parts in most of Spandau Ballet's songs are the Sax parts and Tony Hadley's voice -[b]1[/b]. [b]seems neither get any of my money though.[/b]..explains why there was a punch-up outside the court.. Recently read Mick Karn's autobiography (hopefully he got paid for this at least) - he got paid very little for his contributions to the Japan/ RTC material which is the reason I bought the albums!! [b]2. His inimitable playing style surely justified a decent %age of the royalties[/b] (I know that in reality this didn't happen..) [b]3. Do the horn section get royalties?? [/b]What about the Sax player in Papa's got a new Pigbag?? It's mostly sax and bass - or is this merely "arrangement". What about "Geno" by Dexy's?? [b]4. Does this mean that, despite writing some of the best bass riffs ever, that Jameson didn't "write" any of the Motown stuff??[/b] [b]5. I don't see it as being as clear cut as the courts..[/b] [/quote] 1. Tony Hadley and the sax player will (most likely) have received a [i]recording artist[/i] royalty. 2. You may think so, but the reality is unless he contributed to the melody or words, then he would (most likely) have only received a[i] recording artist[/i] royalty or fee. 3. If the horns contribute significantly to a record, and the horn(s) player wrote the part, then he/they may have a case as part writer, otherwise they will receive a [i]recording artist[/i] royalty or fee. 4. If he's not credited, then, no! He will (most likely) have received a fee. 5. Making records and deciding who is entitled to what is a complex business, to then decide how much difference a musicians contribution has actually made to record sales and then pay those musicians accordingly would be unworkable. If a musician feels that he his contribution has significantly helped record sales and that he has been ripped off, then he can seek legal advice. If you take it to court, and win, you may receive a percentage of the publishing for future sales. If you take it to court, and you lose...It could leave you seriously out of pocket. A sax player friend of mine was asked to play on an album, he was paid a fee. One track had him playing a solo which was pretty much half the record. This track was a single, became top 10, he sued for a percentage of the publishing, the judge agreed that his contribution was significant enough to be considered part of the writing.

I've just got to a bass and tried it. I'd say your fingering was correct. Just a case of learning it slowly, playing it accurately and gradually increasing tempo. Another reason for avoiding open strings: You've spent ages learning a tricky piece (incorporating open strings) in F#, then the keyboard player says he can't play it in F# and would you mind playing it in G.

[quote name='chrismuzz' timestamp='1333672997' post='1605250'] With some basses, open notes sound very different to fretted notes, and you have to be more careful with muting. i can't think of any more reasons at the mo [/quote]Yup! Also (may not apply to the Bach piece in question), generally speaking, open strings are rather difficult to slide up to or apply vibrato to.

I would disregard any possible Phil Lynott connection... at least, for the time being. The signed letter from his mum interests me. How does this work? My mum wouldn't have a clue what basses I use, or have used. But would probably sign a cleverly worded letter after being asked (after my untimely death ), "Did your boy play a bass [b]like[/b] this, and would you sign a letter to this effect?"

[quote name='jakenewmanbass' timestamp='1333373242' post='1600696'] By suggesting that songs would sound different with another band he is implicitly acknowledging that you have a creative input, [/quote]That would be of little relevance in a dispute over songwriting royalties. [quote name='pietruszka' timestamp='1333377609' post='1600800'] There a couple of things you can do. If the guitarist takes the material elsewhere with a different bassist+drummer and it sounds different then its a different song surely. [/quote]No! The only way that it would be a different song is if the singer sang significantly different words to a significantly different melody.

brensabre79's post pretty much covers it. However, publishing today is not quite as simple and straight-forward as perhaps it once was. Coming up with a bass line, guitar part, keyboard part or drum part doesn't normally count as songwriting. As bs79 says, this is part of the 'arrangement' process. The writer of the melody and lyrics are normally considered to be the writers. BUT, if your contribution can be proved to have had a significant part in the records success, then you [i]may[/i] be in line for a share of the publishing.

[quote name='risingson' timestamp='1333308056' post='1599884'] The first one is The Beatles 'She's Leaving Home' and the second is 'God Only Knows' by the Beach Boys. [/quote] 'Good only knows' would probably have been my choice. Both can certainly be described as 'outstanding'. While my contribution may not be the greatest pop [i]song[/i], I think the phenomenal production/arrangement makes it one of the greatest pop [i]records[/i]. I'm Not In Love 10cc [url="http://www.youtube.com/watch?v=Y2BavhwpIJg&feature=player_embedded#!"]http://www.youtube.com/watch?v=Y2BavhwpIJg&feature=player_embedded#![/url]

[quote name='Doddy' timestamp='1332947845' post='1595323'] I wonder how some people would go on if the drummer was to deliberately turn the beat around or displace the accents? If you don't have your time solid you'll end up with a train wreck. [/quote]I don't think many of us are exempt from a possible train wreck...if a drummer wants to catch you out, he will...eventually! Thankfully, in my case, those kind of shenanigans are just a bit of fun to be enjoyed only at sound-check. Keeps us on our toes.

[quote name='Bilbo' timestamp='1332941985' post='1595203'] Every player/vocalist needs to deal with time. We are all assuming, for a start, that the drummer is playing. It may comes as a surprise to some here but sometimes they stop (or don't even start for a whole tune) and, if anyone is relying on them to keep time, then they are lost. A lot of jazz/folk/function work is in duos and trios without drummers. If you are looking for someone to tell you where the one is, you'll be waiting a long time. [/quote]With respect, for the purpose of this thread, we are kind of assuming that a drummer is involved. But to be serious, even when, to all intents and purposes, there are no drums, how many times have we heard the drummer still keep a simple hats part going? There are a few posts in this thread stating the bleedin' obvious, [i]'we should all play in time'[/i]. But I can tell you that I have never played with any musician that I would describe as having 'perfect timing'...and I've played with a few great musicians.

[quote name='cheddatom' timestamp='1332938584' post='1595117'] Playing to a click is easy though and I'm going to try and start doing it live as well [/quote]There is a tendency now to want to play music to a strict tempo. IMV music (more-so live music) [i]should[/i] speed up and slow down. Choruses can often benefit from being a couple of BPMs faster. A gradual increase in tempo during an instrumental or solo section can add intensity. Of course this is all dependant on the type/style of music you are playing.

[quote]Should the drummer be setting and maintaining the tempo?[/quote] Pretty much, yes! You've got 2 ears: one for the band, and one reserved exclusively for your drummer. For timing your focus (and everyone else in the band) should be on the drummer. Of course it's possible for other band members to 'push' a song to the point where it will speed up. There's very little a drummer can do about it at the time. He can try to put the brakes on, but IMV the best option is to discuss it and see where the problem lies.

[quote name='steve-bbb' timestamp='1332927689' post='1594876'] i would add to that even the chord voicings too missing out even the occasional passing note is often enough to make a noticeable difference - a good beatles cover does imo require a strict musical discipline because their strength and beauty is pretty much totally encompassed in the melody and harmonic structure - unless you go the whole hog and are brave enough to do a crazy rearrangement such as esperanto's eleanor rigby! [/quote]Considering mercuryl is in a guitar/bass duo I would assume that serious rearrangement is a given. I've got to say, I'm struggling trying to imagine some of the songs suggested with such a limited line-up.

[quote name='Jack Cahalane' timestamp='1332801305' post='1593464'] I really want to hear Rain and Taxman isolated but I can't find them anywhere. [/quote][url="http://www.guitarbackingtrack.com/bts/Beatles,_The.htm"]These[/url] may be of interest. Some genuine tracks and some dodgy ones. Unfortunately, Rain and Taxman aren't the real deal.