Owen

http://www.jamhub.com/ Cheaper to buy a cheap electric kit (I have one for sale possibly) and everyone else DI than do bucketloads of building. Also nicer for your ears. Not as much fun as thrashing along at 120dB, but that is expensive to contain. My son's band practice in the room next door to the living room. We know that they are there, but it is not a huge issue.

I am not commenting on anything to do with Japan or Mick Karn or the whole royalty thing for that particular band. However, rest assured that whoever registers the writing credit (melody and words) gets the £. It does not matter if the song contains the greatest drum fill in the history of the world or the most fabulous guitar solo ever. The £ goes to the registered writer of the melody and words. End of. How they choose to move the money around is legally their decision. You can bet that a lot of lawyers have made a lot of money arguing the minutiae in court (don't they always), but it is melody and words and nothing else. Is this artistically correct? Probably not. Does this recognise the contribution the whole band make to the whole band? No. Does it seem fair? No. Is it how it is? Yes. There are really good reasons for people being involved with the MU. If you are a member then any contracts you sign are vetted by very expensive lawyers on an MU retainer. For nothing. We are beyond naive if we think the music industry is fair. Why do Led Zep not get it together? Page and Plant are still fighting about money (allegedly). The industry is not about talent, it is about knowing how to milk the income streams. That is obviously not what music is about for a lot of us, but it is PRECISELY what the Music Industry is about. We owe it to the younger generation to make that clear at all possible opportunities. I wish I knew this when I was 16. U2 split their royalties 5 ways (20% for their manager). That seems fair. To veer back onto topic, Mick Karn had lush tone. Grant, how anyone can use the words "Bryan Ferry" and "singing" in the same sentence is beyond me

[quote name='Clarky' timestamp='1326060915' post='1491860'] Its part cos I'm still a bit rubbish on DB and part cos I'm used to 'on the fly' fingering! But seriously, what fingering do you use for playing say G sharp, A, F, E sharp on the G/D strings - is that all sliding your first/fore finger up and down the board or does your second/middle finger come into play at any point - its the semi-tone shifts I am not sure about [/quote] 1 on G#, 2 on A, 3 on F and 2 on E. 1 finger per "fret". Job done.

[quote name='wateroftyne' timestamp='1325859306' post='1488898'] I've been on the hunt for a Sunburst PJ with block markers, tort guard, P profile neck, 70s logo. So, when I saw this [url="http://en.wikipedia.org/wiki/Fender_Roscoe_Beck_Bass"]Roscoe Beck IV[/url], which has virtually none of those attributes, I just had to buy it. [/quote] I resemble that remark! I had one of those bridges on a bass once and the saddles started to shatter/crumble for no apparent reason. It's poss that I just had duff castings or something, but it was a real surprise and a pain in the butt.

Lush.

As in from his office into mine.

You can get some office chairs where the arm fold down out of the way for special occasions. Not that I have a link to any. Our caretaker has one at work and when he retires I am having it.

I started DB when I was 15, having been booted out of 'cello lessons for not practicing. My teacher had studied with Gary Karr and she advocated 1234 all over the fingerboard. I knew no different and went with it. I got some pretty funny looks when I ventured beyond my county music system and encountered other tutors. They were pretty derogatory about what my left hand was doing but my hands are big and intonation has never been an issue, even though the beginning of the really slow variation in Enigma was an adventure I have had students with not as much span and they have indulged in the closed hand thing lower down and then gone extended as they moved up the neck. The real answer is whatever works for you. The DB as we know it is a relatively young instrument and there are all sorts of ways of playing it. If you can do 1234 then by all means do so. It opens things up for a lot less moving around.

I tried to buy the Bolin unit from Fishman and they just would not play ball. Have I mentioned that I loved that Fishman unit? Anyway, they said OEM only. It might be poss if a luthier buys it for you or you create a guitar company and contact them through your bespoke company email.

Is it IPad o'clock yet?

I have a friend (that's you Dan) who wants to send a click from an iPod to 4 different sets of cans. Will he be pushing the output impedance down to a level that the iPod won't really like? He is looking at one of these http://www.bluearan.co.uk/index.php?id=DAPD1502&browsemode=category . TIA on his behalf. .

[quote name='lozbass' timestamp='1325688847' post='1486112'] You could try TI Jazz Rounds - very light and a lovely finger-feel (if you like fine and slippery) - they're nickel and expensive, but a very high quality option [/quote] Hmmmmm, I have TI JR lurve in a big way!

[quote name='chardbass' timestamp='1325622892' post='1485422'] B&W do a good clamp that fits on a mic stand. [/quote] Do you mean K&M by any chance?

PJ 5 in black is yummy.