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Posts posted by TrevorR

  1. 39 minutes ago, mybass said:

    Yes yes, all about basses past and present, wood, sounds, pickups and amps even and anything we can think of that makes us sound more important than anyone else in the band. (Don't tell yer band mates I said that!) I'll probably have a Markbass 2x12 Ninja cab and Marcus Miller Markbass amp, a few ego pedals and one or two of my fretless basses and if I remember to find the box, a Phil Jones 'Earbox' .

    Looking forward to this. Seen Pete with Buddy Whittington several times. Him and Darby Todd on drums makes for a rocking rhythm section!!!



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  2. This very Wal Mk 1...


    Saw it hanging in a shop in Denmark Street around 2000 and thought, “I’m sure I recognise that thumb rest.” I asked and they said that Martin Kemp from Spandau Ballet was selling his Wals (there was a walnut one next to it). Funnily enough I’d popped in to ask if they had come across any Pro Series Wals - as I really wanted one to go with my Mark 1. The price was a decent second hand price too, not some silly celebrity bass figure.  Anyway that evening I mentioned it to my wife who said “You should have bought it.” “Really?” “Yes, of course!”

    Popped back in the next day but of course... you can fill in the rest...




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  3. Strictly DID only gives you 8 choices  but since the OP said 10 so I’m sure I can squeeze a few extra in... as an extra artificial condition I’ve said one album per artist in the main choices...

    • ELO - Out Of The Blue
    • Thin Lizzy - Jailbrak
    • Horslips - The Tain
    • The Doobie Brothers - Takin It To The Streets
    • Aimee Mann - Whatever  
    • Jeff Wayne’s Musical Version Of War Of The Worlds 
    • Elgar Cello Concerto in Em - controversially I’d probably go for Julian Lloyd Webber/Yehudi Menuhin/LSO rather than either of the Du Pre versions
    • La Quattro Stagioni (The Four Seasons) - Antonio Vivaldi, I Musici
    • Yes - Close To The Edge
    • Rush - Moving Pictures
    • Gordon Giltrap - Fear Of The Dark

    ...rats that’s 11!


    My bonus choices are (I reckon I’d need to smuggle these in too)...

    • Thin Lizzy - Johnny The Fox and/or Bad Reputation 
    • Horslips - The Book Of Invasions
    • The Alan Parsons Project - Eye In The Sky
    • Iona - Iona
    • The Doobie Brothers - The Captain and Me
    • Steely Dan - The Royal Scam  (though realistically I’d probably have a Best Of package)
    • Jean Michel Jarre - Les Chants Magnetiques

  4. Well, my wife gave me an album for my birthday and the vendor on Amazon had mislabelled it so it was one I already had. She said, send it back and just spend the equivalent cash on something else. So (overspent slightly) and got the 2 disc version of Thin Lizzy Live At The BBC and The Sidewinder by Lee Morgan. Both fab in very different ways!



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  5. 38 minutes ago, chris_b said:

    What's wrong with pen and paper?

    Not a single thing!



    PS that’s just my old church music folder. The covers band had two folders that size of songs our BL might decide to throw into a set with no notice!

  6. I've been clean for pretty much a calendar year - since a bit of a pedal splurge back in September 2018 (EHX Bass Clone to replace a dead Boss Chorus, Eden Californiwah that was going at a price I couldn't refuse and Palmer variable voltage power supply because I hadn't clocked that the flippin' Eden ran at 15V). No plans for any more purchases either so looking good (/bad) for the rest of the year too...


    PS I just checked, last bass purchase was back in August 2015 as far as I can make out.



  7. 1 hour ago, mickhardup said:

    Hi all have never been to a event like this before so a few questions, do i just turn up ? is there a start and a finish time ? is there anywhere to get refreshments etc? these maybe stupid questions but i don't want to turn up at 9am and doors don't open till 12

    Have a look at Silvia's photo blog of the day and you'll get an idea of it. Very relaxed, chilled out time. Bunch of bass geeks getting together to bass geek... 

    Last year: https://silviabluejay.blog/2018/10/26/basschat-south-east-bash-2018/

    The year before: https://silviabluejay.blog/2017/12/08/basschat-se-bash-2017/

    And Gary forgot to mention that any excess door money and the raffle money goes straight to a selection of worthy causes. Usually all winds down about 4ish/4:30ish...

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  8. Long time since I used PDFs but I’m 99.9% that it will move straight to the next page straight away. It does the same with OnSong format docs. One tap on the switch places the line below what’s visible at the top on the screen - just like “page turning”. With PDFs the pages are defined by the document on the OnSong format by what’s visible on screen.


    I’m sure that buried in the mode options somewhere there is a slow scroll or autocue type option but the mode I use  is page up and down... You can check out the manual here...



    Here you go...

    Mode 2 is scroll up and down.

    Mode 3 is page up and down


    If you cue up a playlist of songs the switches take you up and down pages within the song. At the start of a song left/switch 1 takes you to the start of the previous song in the playlist. At the end of the song right/switch 2 takes you to the start of the next tune in the playlist. Easier to do than to type.




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  9. @SICbass, not used MobileSheets much - other than a trial version on my phone which I downloaded to test for a chum who only has an Android tablet.

    I'm presuming that you're using PDFs for your chord sheets rather than one of the native, transposable formats? The problem with a PDF is that in this context it's a pretty dumb medium - it's a photo with pretensions of grandeur. The only option is to increase the page magnification and you're at the mercy of where the app lands you on a page when you scroll. 

    With OnSong I transferred ALL of my charts into OnSong and ChordPro transposable format - it was a pain but doing it a chunk at a time it got done over a few weeks of here and there . It really opens up the functionality. You can not only do the transposing stuff but change font sizes while maintaining song flow or add highlight colours to chords etc.

    Once I got the transposable format rules it was a straightforward (if a bit laborious) to do. Basically you insert the chord in square brackets in the lyric line where it is supposed to be. The programme then links that chord to the next letter and displays it above it.  

    So in the photos below the display you see is produced by the following text in the file - if that makes sense - pretty straightforward format but to get the full functionality you doo need to convert or re-do your charts. It's worth it though IMHO...


    [Bm7]The One who made the [F#m]blind to see
    Is [G2]moving here in front of me, moving here in front of me


    In the chorus, the word with the A chord above the "c" of "miracles" would be notated as "... mira[A]cles ..." It allows you to be very specific/precise with chord placement.

    13 font:


    Text display drop down:


    Font size increased to 18 (and highlights added in second photo):




  10. 21 hours ago, hiram.k.hackenbacker said:

    No, I haven't bought one yet. It would be good to know that it does the job and if you really don't need it, I would be happy to buy it mate. When are you next at Mushroom? (don't say the 9th 😂).

    Being able to scroll hands free really is great with OnSong - so much more convenient and your hands never leave the bass. Once you’ve got it paired it’s pretty effortless and when setting up the only potential hassle is making sure it’s in the right mode so the buttons do the right command. However, it’s easy with the manual - all of which are downloadable from the AirTurn website...

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  11. I first got an AirTurn several years ago the soft pedal Duo model. 2013? Maybe 2014? Took a bit of setting up at first as it was early Blu implementation plus the only vis aid was an led that flashed red/green - I am, of course, red green colour blind so that was a pain. The key was ensuring that it was in the right mode. From then it did many years of sterling, no problem service apart from the odd Bluetooth disconnection/reconnection issue when I closed the iPad during use or wandered out of range. Just needed reconnecting the Bluetooth and I put that down to normal usage/user error.

     I’d still be using it now if it hadn’t had a mishap that damaged the connections. I could have fixed it/got replacement bits and carried on with it but it would have been hassle and cost as much as the BT unit which had just come out. 

    Just checked, got the BT just over a year ago. It was easier to set up, and uses Bluetooth 4, (so is even more stable). Feels nice and firm under the feet with the conventional switches, small footprint, good battery life and does everything I need for chart navigation with OnSong - Fwd/Back, Top/Bottom of song, Next/Previous song. Charges (or runs on power) with a USB charger (I have one which powers both iPad and BT for gigs. Very happy with it. 

    I had been tempted by this page turner which looked really cool: https://www.codamusictech.com/products/bluetooth-page-turner-music-pedal-for-tablets but they didn’t supply to the UK then. I was wondering if I could finagle it via some American chums or something but then the BT came out and it seemed to give exactly the same functionality at half the cost (and hassle) - decision made!

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  12. 4 hours ago, Defo said:

    Wow, you were lucky!!

    The bass choice in the shop came down to the Aria and an Overwater Classic Bass. In those circumstances I couldn’t have lost! A win whichever way I’d plumped (the Overwater was sparkly pink so Aria it was). And yes, I count myself as super-lucky!

  13. On 25/08/2019 at 11:18, BlueMoon said:

    Another vote for the Yes Album. I remember listening to "Yours is No Disgrace" on Dynatron headphones at an exhibition in the very early 1970's. Hooked from that day on.

    I agree that their interpretation of America is fantastic. I first came across this on an "Atlantic" sampler album. 

    Strange: there is not much talk of "Talk" in the thread.

    I like Talk and of all the Rabin era ones I probably listen to that most. Some lovely tunes and vocal harmonies on that album.

    • Like 1

  14. Heres the full piece in easier to read on a phone form...



    Some would call it the pinnacle of an entire genre. Others might say it’s the moment its creators attained the perfect expression of their muse. Many would claim it represents the jewel in the crown of progressive rock’s Year Zero. Audacious! Virtuosic! Majestic! Perfect!


    Personally, I hated it. Couldn’t get it at all. Well, there was that bit at the start which just seemed to be random noise. Then it seemed to ramble on for ages, never getting anywhere. And what the heck was a “Khatru” and why were they so popular in Siberia? What a complete waste of three pounds and twenty-nine pence. It even had the single most boring mud brown album cover I’d ever seen. A cassette-tape was unceremoniously flung to the back of a bedroom cabinet and forgotten.


    Not the most auspicious start for a candidate for It Started With A Disc. How could this be my initial reaction to an album which I now count as pivotal to my personal and musical development? Well, perhaps there is a little more to the story.


    In the period from 1976 to 1979 I never bought into the punk ideal. That type of music wasn’t really for me. No, I was a heavy rock fan. Led Zeppelin, Thin Lizzy and Deep Purple were my listening staples. These sat uneasily alongside an unhealthy (I presumed then) interest in Abba, The Electric Light Orchestra and other chart pop. But we didn’t talk about those. If there was any other genre that I was likely to listen to it would be rock and roll or rockabilly - influenced by the kids I hung around with at youth club. If we were going to play ‘C’mon Everybody’ it would be Eddie Cochran’s original, not some crappy punk cover.


    So my reaction to Close To The Edge wasn’t some clichéd knee-jerk “Load of rock dinosaurs” rant. I had genuinely expected to enjoy it. The fact that I didn’t get it at all was a bitter disappointment. My rock tastes were already starting to branch out in a more prog direction and I had heard the odd Yes tune that I really liked. A compilation album contained the squelchy synths and wah guitar of ‘Don’t Kill The Whale’. ‘Wondrous Stories’ was regularly heard on the radio. Yes was a band I was determined to check out. Yes was a band I fully expected to love.


    So one afternoon in 1979 I found myself upstairs in Truro’s Saffron Records, rifling through the LP racks, pocket money jangling temptingly in my trouser pocket. There were so many exotically designed covers tempting me in. Was today the day to buy some Yes? Or perhaps I should finally plump for a copy of Brain Salad Surgery, scary looking cover or not?


    The triple album glory of the live album, Yessongs, was further than my pocket money could reach. Similarly some of the newer LPs. But then I spied a drab little cassette sitting forlornly in the racks with a sticker proclaiming, £3.99 £3.29. Done! When I got it home I slipped the cassette into my tiny hand-me-down cassette player. There seemed to be some louder than usual hiss coming from the speaker which suddenly exploded into an unintelligible noise. Little was I to know that the minuscule mono speaker was in no way equipped to deal with the subtleties of the rainforest sounds which coalesce into a free-jazz influenced intro section on ‘Close To The Edge’. For the remaining twenty minutes of side one the cassette player struggled manfully on, signally failing to deliver anything near the high fidelity sound which the music demanded. Side two didn’t fare any better and so the cassette was unceremoniously chucked in a cupboard. 


    Fast forward six months and my birthday present meant I was finally freed from the vagaries of hand-me-down audio equipment. Resplendent in my bedroom sat a brand new Sharp music centre... Record player, cassette deck, AM/FM radio and three glorious watts per channel of stereo sound. As I consigned my cassette player to the cupboard a dusty cassette fell out and bonked me on the head. “Oh, that! Well, I suppose I should give it more than just one listen. It can’t sound any worse on the new hi fi.” That said, I wasn’t holding up much hope as I slipped it into the cassette deck and pressed “play”.


    What a revelation. A torrent of sound cascaded from the speakers; chaotic but yet revealing of a subtle structure. Chris Squire’s bass wrestled with Steve Howe’s spiky guitar lines until suddenly punctuated by a complex vocal harmony. Gradually a compelling melody emerged, driven by the bass and underpinned by Rick Wakeman’s Hammond organ and Morse code Moog synth. Forty short minutes later the cassette mechanism clicked off as side two finished. I was hooked. A lifetime love of prog and Yes was underway. Looking back, though, thank heavens that, on that fateful day in Saffron Records, I hadn’t plumped for Tales From Topographic Oceans. There are some musical traumas from which you could never have recovered!

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