skankdelvar

Hi Andy and  to the forum 

He's not wrong, though.

Market researcher: Name ten famous bass guitar players
Non-bass playing public: What's a bass guitar?

MR: It's the big guitar. The guitar that's bigger than the other ones.
NBPP: Why didn't you say so?
MR: Name ten famous big guitar players
NBPP: That's easy. Paul McCartney
MR: ...and?
NBPP: Sting? He plays the big guitar doesn't he?
MR: ...and?
NBPP: Freddie Mercury?

TBPH, I looked at that list and thought 'Well, some players have got a very well-organised fan base'.

I'm not in a band ATM but if I was I'd be pushing hard for Transfusion by Nervous Norvous.

There are so many different approaches to this common problem but I'm inclined to agree with the eminent Mr @chris_b that allowing some space in the arrangement is preferable to stomping on a pedal.

I suppose if one must use a pedal I'd wait for the solo then step on an EQ with a boost somewhere in the mids. This will help to mask some of the temporarily empty frequencies without obviously banging up the overall volume or turning one's carefully crafted tone into sludge.

If anyone should be using a delay pedal it should be the guitarist. In fact, they should experiment with using two delays, the first in the chain set for a short, single repeat slap-back and the other set to a longer delay with a couple of repeats. Get his second delay as wet as wet can be then dial back from there.

Finally, the guitarist could try the TC Mimiq Doubler pedal which seems to combine a sort of fake-stereo Haas (Precedence) effect with pitch shifting to make it sound like more than one guitarist is playing. Which is fine except it will work best with two amps in stereo placed wide on the stage because the Haas effect is all about stereo.

Thank you all, you're very kind. It was indeed a strong month with some frankly mind-blowing compositions.

Have a lovely Christmas, everyone 

My favourite description seen here on BC was 'The sound of a crowd of angry squirrels hurling nuts at a tin roof'.

Whoever came up with that deserves a medal or something.

Just now, Bridgehouse said:

specially if it was one with a Scorpion speaker in. 

M'mmm, dunno about the speaker. I was having too much fun blasting away in front of it to go poking round the back.

1 hour ago, Bridgehouse said:

Peavey Bandits

Peavey: the king of bargain amp brands. Had a bang on a mark one Bandit a few years ago. Storming little amp.

8 minutes ago, Bridgehouse said:

I loved those old HH combos. 
 

No idea why…

Well, the HH bass combo my pal Ricky brought home (and which subsequently went out the window) was the one I sold him (hee-hee) and I can tell you it was a nightmare to transport, weighed a ton and it wasn't really very loud for all its behemoth dimensions so he took it off my hands and the rest is history.

Good for cracking pavement slabs though.

42 minutes ago, peteb said:

To be fair, he did dump her not long after she started doing that

Got his priorities straight, then.

I've always been lucky in this respect. The Missus, while supportive, evinces scant interest in the minutiae of my musical odyssey. The main thing is that she doesn't jib at me spending money on stuff. 'If that's what you want,' she says.

Unlike a friend of mine; about thirty years ago he came home with one of those huge old HH 1x15 bass combos the size of a washing machine. His GF got hammered one night and pushed the combo out of a second storey window into the street.
 

HH VS Bass Combo: Death from above

 

Gadzooks! It slipped my mind earlier that I once encountered exactly the same problem as @GreeneKing

Joined a guitarist and singer doing acoustic covers stuff. After a couple or rehearsals I noticed the guitarist never played a song the same way twice which was a bit of a pain as he'd previously stipulated in no uncertain terms that I learn the set from the original recordings. Like a good boy I'd charted the songs out so it was a bit tedious when he inevitably went off the rails.

After a discreet interval I brought this up. 'Oh,' says he. 'I don't like to tie myself down. Music's all about expressing oneself'.

'Fine for you,' says I, 'But it makes it a bit difficult for the rest of us in the room'. He was talking bollocks, of course. He just couldn't remember the songs.

The singer cornered me afterwards and thanked me for bringing it up. 'He won't change, though' she said, looking over her shoulder nervously. She was right; he didn't so I had it on my toes. Shame that; she had a tidy voice and looked good too.

Hi Simon and   to the forum

3 hours ago, GreeneKing said:

I got told off for being too loud (the drummers wife who comes along)

That ↑ would be reason enough for me to leave. Never held with non-band members coming to rehearsals. One band, the drummer's wife always came along. After a few weeks she started offering 'advice' about arrangements. Then about individual parts. Then about me "moving around too much" - in a rehearsal?

Silly mare but he wasn't going to divorce her so I left the band.

Hi Dave and   to the forum 

14 minutes ago, Stub Mandrel said:

 

Agreed, but it's hearing it when I'm singing that seems to be what puts me off rather than the actual sound.

Maybe go stand in the corner of a room (the khazi's good for this, being small and mostly hard surfaces) and sing straight into the 90-degree angle. This creates corner loading and bangs your voice back at you a bit.

It's always seemed slightly odd to me that in 2009 organist Matthew Fisher was eventually able to claim a percentage of the writing royalties for Whiter Shade of Pale because of his famous organ part (ooh, Matron). It sounds exactly like Bach to me but what would I know?

Final judgement here. Key bit below:

"This case ... has shown that there is no time limit for bringing an action for copyright infringement. 

On the other hand, the case has shown that when a piece of work is created by more than one party, arrangements need to be made to apportion the copyright appropriately and, if the copyright is to be jointly held, how the copyright may be exploited.  Otherwise, copyright owners may find themselves having their ownership challenged at any time during the term of copyright (which is, in the main, the life of the author(s) plus 75 years). 

However, it obviously remains better to act when you believe your copyright has been infringed or at the time you first consider you are a joint owner of copyright, rather than to “wait and see”, because, as was the case here, the court is unlikely to offer a share of past royalties". 

Just now, Stub Mandrel said:

 

That's an idea!

Thing is, pretty much everybody's recorded (or amplified) voice sounds horrible to themselves until they get used to it.

Even Don Henley had this problem...

...possibly.

Stupid idea but maybe you could copy some karaoke tracks off YT into a DAW (Audacity) and record yourself warbling along. It might help you get used to hearing your own voice coming back at you from speakers.

Better qualified people than I will know what to look for in a singing coach.

Levon Helm and Garth Hudson are living in my head.

Lyrics ↓
 

Hi Clayton and welcome to the forum 

Hi and welcome to the forum