luckydog

Bass player wanted, must have PA. Please send photo of PA. Spin on a v old joke LD

How about a backup battery for pedal boards, so that if the mains connection gets kicked, all the pedals don't reset ? LD

IMO it says that one doesn't know or hasn't rehearsed or can't remember the material or form of the songs. Unless its very complex, this can't be good and one is not going to play or look too confident. Jazz/classical aside where memory aids can make things better because of the feat of it. But rock/pop surely not.......! LD

Oh ! You'll need to know how the keys/guitar are harmonising much of the song, such as the fantastic opening, if you are to avoid train crashes on bass plus to make the most of the opportunities. It can be sublime and beautiful, but all hangs on the exact harmonisation being played. 3 different versions seldom hang together ! LD

[quote name='zbd1960' timestamp='1473190167' post='3127899']I think the Barbirolli was the first to 'popularise' Mahler 6. The typical Barbirolli grunts can be irritating. I think I'm fond of it because it was the first recording of it I had (it used to be the Gramophone 'rosette' recording). I also have Solti and Rattle [/quote] I don't know which was recorded/released first, but what if the other (Solti/Barbirolli) had heard it and said 'what is the point ?' as per the OP ? Or Rattle on the strength of hearing both of them ?! It's that they each had something to say and present that drove them, probably. Plus competing record labels urgently needed something strong in their catalog. It was Champagne Charlie stuff - classical recordings in the 60's - Mahler 6 on vinyl would have sold for about a week's wages for the average worker.......... the 60's Decca stuff includes perhaps the finest vinyl masterings ever published too........ LD

I started as a guitarist, but the endless stream of women throwing themselves at me wore me out. Rather than give up playing, I switched to bass. That fixed it overnight, and I never looked back. Whenever I get the urge to play guitar, I think of those dark times and how my humble bass saved me from becoming a withered wreck. Thank you for listening. LD

Without knowing that specific arrangement, perhaps the transducer has slipped, or isn't tightly coupled anymore ? LD

[quote name='BigRedX' timestamp='1473151322' post='3127314'] Because for me being more popular is a means to an end, not the end itself.[/quote] You've obviously got a great grip on things - nice - respect that [quote name='bassjim' timestamp='1473159334' post='3127442'] So i would be honest with myself and ask if I think I have a shot at getting anywhere with original material..(..)..If you think yes then go for it because sadly the folks that used to do it so well aint there no more. I'm talking about the small lables that got you off to a good start. [/quote] Yup, that's the crux of it. Do what you love, do it well, and do it now ! LD

[quote name='BigRedX' timestamp='1473147560' post='3127266']Plus a massive amount of promotion and publicity to grow our audience beyond those that are interested in the punk/psychobilly scene and therefore already know all about us. In the end it comes down to "luck"/persistence (I believe you make your own luck by being persistent and visible as a band). [/quote] Much depends on yer ultimate goals I suppose, and you seem well sorted - that's just great. That generally doesn't happen by accident in life, even if one is good. Yes, there's typically a glass ceiling to popularity outside of yer genre/scene, that's probably one of the big breakthroughs on the path to world domination, if that's the aim - I mean, how do we know when to stop ? What drives us, when what we have is already great ? I think one has to enjoy present success, no matter where it fits in with ambitions etc. I can get 'the quest for being 'personally better', but not really the popularity bit, beyond a certain level? LD

[quote name='zbd1960' timestamp='1473106099' post='3127030'] Barbirolli recording? [/quote] Every respect. But the Solti does it for me......! LD

[quote name='BigRedX' timestamp='1473084676' post='3126727'] I don't think that songwriting is the problem. There's at least a couple of decent songs in every originals band. And remember that very few "signed" bands are much better. How many albums (that aren't greatest hits/best of) do you own where every song is a classic, and how many times have you bought an album on the strength of a great single only to find that is the only good track on there? The problem most bands have is that they simply don't have the ability to perform those songs in a way that is entertaining to an audience. The number of times I've seen bands struggle to project beyond the edge of the stage or simply play as though they are still in the rehearsal room and the audience might as well not even exist. And with the "product" now being the live performance it should be easier than ever to be able to hone your act so that it entertaining on stage. After all you just need to use your rehearsal room time properly. That's relatively cheap compared with what you used to need in order to make a recording that could compete with what was in the charts. [/quote] ^what he says +1 [quote name='4stringslow' timestamp='1473081947' post='3126673']Interesting points LD and I entirely agree that most musicians can judge quality of music over popularity, but this thread is about playing to near-empty venues, which suggests that popularity is the key for band success. Even if they play high quality but 'obscure' music, they still need to be 'popular' enough to fill the venue being played and the more obscure the material probably the wider catchment area they will need to draw their audience from, making it more difficult than playing classic covers. [/quote] The crux is whether the aim is primarily to be popular or to present quality musical material/act that is true to the band. If you get the latter right, popularity should follow within the genre/demographic of peeps who enjoy it. All things being equal. I think 'both' is a fudge answer, and implies compromise that is usually nett bad. Some music always will have limited popularity in the scheme of things, yet is still fantastic. What's a man to do ? Be true to oneself, whatever that is I think. LD

[quote name='4stringslow' timestamp='1473075219' post='3126561'] Ah, but isn't heroic failure the Great British way [/quote] Charge of the Light Brigade, General Gordon, Scott of the Antarctic ....... we take a hell of a pounding so well. We get knocked down, but we get up again. They're never going to keep us down. Now there was an originals band with something unique, that had a great following, and never sought fame and wealth AFAIK, until it happened one day. [quote name='4stringslow' timestamp='1473075597' post='3126572'] That's an interesting point, but what would be an alternative measure of quality? In a band context, isn't the most important thing entertainment, in which case popularity would seem to be a good metric? I've no doubt we could have a very worthy academic discussion about the 'quality' of a piece of music but if a three chord ditty is enjoyed by more people then what's the point?[/quote] Two things that are tough to define in philosophy : quality and truth. Robert Pirsig had had a good go at defining some kind of structure for 'what is quality?' whereas many others gave up over hundreds of years. Pirsig assigned a hierarchy (I hope he's not reading !), in which social quality, such as fame and popularity, is trumped by 'self-fulfilment' or intellectual quality such as appreciation of harmonic progression or lyrical meaning or art - but not all people operate within the 'self actualised' domain for much of the time. Hence, for most people, quality and popularity/fame are always effectively the same thing. But there is a higher plane, most musicians know of course. So depends whether we get this, personally, as to whether we think Mustang Sally beats Mahler's 6th for musical quality........the answer would be obvious (but different) and deeply split for the population. You did ask ! I'm a Mahler 6th dude. Others would say Mustang Sally. LD

[quote name='chris_b' timestamp='1473069546' post='3126490'] Mustang Sally and Sex On Fire are original songs by writers who cared about what they did and wanted success by reaching the largest audience possible with their songs. [/quote] One shouldn't confuse popularity with quality, as a measure of success in such things. Is Mustang Sally really worthy of notable merit as a song ? The pinnacle of aspiration ? I think not. [quote name='chris_b' timestamp='1473069546' post='3126490']Unfortunately much of the new music on the British club and pub scene is not "fresh and unique". Too much is dull and derivative. The good guys [i]are[/i] playing to full rooms.[/quote] That much is true. But the pub/club scene is generally not the originals scene, apart from some crossover which is always good to see. And the originals scene has enough fresh stuff to be interesting, always is derivative though except for the occasional iconoclast. LD

[quote name='chris_b' timestamp='1473065467' post='3126445']You can't slag off more popular music. [/quote] Oh, I think we can. Now where shall we start ? [quote name='chris_b' timestamp='1473065467' post='3126445']There's nothing special about new or original music. [/quote] There is: by definition it is fresh and unique. So it has to jump significant extra hurdles of familiarity and reputation. Agree it needs to be particularly worthy of interest to get a following. But one has to run it up the flagpole to see who salutes it ! LD

[quote name='lefrash' timestamp='1473064518' post='3126429']The key for me is the picking the gigs. I see alot of bands with busy gig calendars that in the face of it looks quite impressive, but then you realise most of the gigs are within a 20 miles radius! Your 'hometown ' gig should be an event, not every 2nd week. Get a bit of a buzz about it.[/quote] ^what he says LD

There's recone kits here, last few in stock, reduced to 25 Euros http://www.loudtechnologies.eu/shop/index.php?item=rcf-recone-kits&action=page&group_id=35&lang=en Perhaps you might provide this link and refund that cost to the buyer, and they could get it fitted ? HTH! LD

[quote name='Roger2611' timestamp='1472979051' post='3125659'][color=#1D2129][font=helvetica, arial, sans-serif][size=4]We have spent hundreds of hours writing, rehearsing to be[/size][/font][/color][color=#1D2129][font=helvetica, arial, sans-serif][size=4]come the band we are, we get radio play and great reviews from the few that bother to come and see us. [/size][/font][/color][/quote] Hey, you must be doing something right then, so keep on doing it. if you know it's good, and others get it, so you're basically on. Don't know how many times you've been round the block, but assume you know the score. My 2p worth : keep writing strong material and don't compromise, only take bookings likely to be successful, only play bills with same genre bands, make bonds with those bands for mutual support, know the demographic of your supporters, time gigs for when your audience has money (monthly paydays, grants etc), play gigs when your audience is around (term times, weekends, early/late eves), book dates well in advance, get local reviews, go see other local bands of all sorts and they'll see you, social network, choose a promoter who likes you, don't worry about making money, play short sets, be nice to everyone esp venue engineers, and be lucky. Phew ! LD

[quote name='Number6' timestamp='1472987236' post='3125742'] Learn to tap paradiddles with your fingers then gradually transfer to the strings. It imho make its easier to learn to play finger style. [/quote] ^ What he says. Take it slow, get accurate and strong and well emphasised just by tapping. It might not be easy, and will prob take some time, but gets the wiring in yer brain and the muscles in yer arm working. Don't over do it, and stop before it hurts anywhere. As you improve, speed up, then finally transfer it to strings ! HTH ! LD

That's kind, because there's every possibility the damage happened after you sold it, when they didn't know what they were doing setting it up. I think I'd explain the problem with driver availability, and let them say how they'd like to proceed. They'll be no problem finding a non-original but suitable driver I'd think. Try Blue Aran in Southampton. Perhaps coming to a settlement where they handle the repair and you buy the driver or something, or vica versa. HTH! LD

Yup, always use the original rating and type for fuse replacements. Don't trust that whatever was fitted is original unless you bought it new, the type and rating should be on the pcb nearby. HTH! LD

[quote name='Beer of the Bass' timestamp='1472891879' post='3125064'] Like Passinwind says, It could either be that the heater wires to the rectifier socket have been disconnected, or the 5V winding on the power transformer which supplies them has stopped working. If it's the latter, your choices would be to stick with the SS rectifier or have the power transformer replaced or rewound. [/quote] Yes I agree with the diagnosis. The heater is a separate winding on the transformer and has a peaceful enough life, very unusual for a transformer to fail like that without cause. More likely it's a dodgy connection, perhaps the socket, solder connections, or even at the joint between wiring and the transformer inside the transformer wraps? Being an isolated 5V winding, if it is the transformer then a small extra toroidal transformer mounted under the chassis would save changing/rewinding it ? None of this is DIY though, definitely ! just for info. IMO the valve rectifier is worth restoring, and the amp is obviously well worth preserving. Lovely amp. LD

What British TV sketch show had a band loading into a pub with more and more gear until neither the band nor any punters could get in ? LD

[quote name='blue' timestamp='1472174732' post='3119183']However, we would never bring that sort of attitude, dialog or whatever to a gig. The most important part of our mission statement is to "always approach gigs as a time to have 4 hours of fun" [/quote] Great ! I am confused though, 'cos weren't you recently telling us, at some length, about how Buddy Rich's tantrums at band members were somehow motivational and a good thing? LD

[quote name='Coilte' timestamp='1472239479' post='3119793'] Nice...but...unless it's just how the camera mike picked things up.... I can just barely hear the vocalist. So, no doubt the bassist can be heard , but the vocals can not. [/quote] Mumma..............even the cymbals don't cut ! I'd absolutely have nothing to do with that ! LD

So roughly how many basses/gear items per year qualifies as a trader, and is it OK not to identify oneself as such ? In the last decade I've bought no basses, 2 amps, and sold no basses and 1 amp. None on BC. So that's def not me ! Curious what volume of gear other peeps buy/sell yearly, what is normal here? LD