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  1. I suppose the recorder does have a bum rep from many of us remembering playing it at school. I really cannot listen to a descant recorder without having flashbacks to 30 kids playing London Bridge is Falling Down as if trying to reproduce the sound of hades itself. But the tenor recorder has a beautiful, mellow sound, that is quite soothing (except when I play it, of course). It also has holes that give a stretch not unlike the lower frets on a full size bass so I originally started on it as a way of keeping my fingers moving when travelling away for work.
  2. Anyone else been watching the BBC Young Musician finals on BBC4? I tuned in to watch the highlights of the woodwind finals. Really superb musicianship on display from everyone, as you would expect, but the winner communicated the piece in a way that left me absolutely entranced. I will confess to having a soft spot for woodwind as a family of instruments. I'm learning the tennor recorder but am finding it quite tough. Still, I'm persevering. But I just wanted to say home much I enjoyed this programme. Anyone else watched it?
  3. Currently watching a live acoustic set by Sonya and Glen from Echobelly on Facebook. This sort of live set is perhaps one of the very small consolations to come out of all this.
  4. Ok, just tried switching on mine. Plugged in. Switched on. Green light comes on at the front. A VERY low electronic hum can be heard with my ear right on the casing. But the fan is definitely NOT running. Left it plugged in for half an hour. Still no sound of the fan running. Does that help?
  5. Looper pedal. Not only still in its box, it's still in the original Amazon parcel.
  6. We all chip in with suggestions on an equal footing. Then we end up doing whatever songs the BL and guitarist want to do. Same thing with dropping songs that don't work. If the BL and guitarist still like them, they stay in. I've given up making suggestions now which works perfectly for everyone.
  7. To be fair, Hartke stuff is not necessarily all bad. By accident rather than design, I've got two Hartke 112 cabs and, driven by a 700 watt class AB amp, blows away everyone else in the band if I've a mind to. And the 4/8 ohm switching is useful for running one cab on it's own. My gripe is twofold. firstly, they are probably the worst company for inflating the power values of their most recent class D amps (I'm not talking about the older ones here). But, more crucially, their distribution in the UK is abysmal. Good luck if you do want to buy any Hartke product from a UK dealer because almost none have any actual stock to sell you. That's got to be down to the distributor. Soon Hartke will go the way of Blockbuster Video and Border Creme Eggs. something that you vaguely remember from childhood but can't quite put your finger on why.
  8. Which is fortunate as their UK distributor makes not being able to buy anything by Hartke incredibly straightforward!
  9. Does he have his own transport? Brings his own gear? Is he reliable? Unlikely to run off with the drummer's wife?Otherwise trustworthy? If the answer to all of those things is 'yes' I'd say he's 90 percent of the way to being a perfect band member. I'd cut him some slack and see how he settles in with the band. If you drop him, you may not be so lucky next time.
  10. In my main band, we don't so much play covers as covers of covers. For instance, we play a cover of Rocking in the Free World (yes, I know!) but a cover of the Suzi Quatro version. Actually, I add some riffs in from a Bon Jovi live version so it's a completely different version to the original. Same thing for a cover of House of the Rising Sun. We do a cover of the Frigid Pink version, not the Animals version. The only cover where I do try to follow the original is You Oughta Know but precisely following Flea's riffing in F# is kinda tough. I think i play all the right notes, not necessarily in the right order! So I suppose it all depends on how your band sees the original material. If you're a tribute band, then by all means follow the original. But some bands like us see the original as source material only to be played in our own style.
  11. No he doesn't but, as I said, I wanted to get a reality check before having that conversation. I think he's keen and has rehearsed it separately with the vocalist as a duo. That actually makes me think they can perform it themselves if they really want and I'll slope off stage for a quick half. As for my place in the band, know how difficult it is finding half decent bassists round here?! I think our relationship will survive, but really wanted to test out whether, to be frank, I was being a bit of an a*se for refusing.
  12. So many good replies. Thanks again. And it's still difficult to pick out the one, definitive, reason not to do it. Except that I wouldn't feel comfortable, in myself, performing a song that's so tied to a particular place in time and location. And one where we, as a band, have no particular business going. So it's down to authenticity with me. Then there's the point about how it's going to land with Fred down at the Dog and Duck who wants a bit of a sing-song with his half of mild. It just doesn't fit the rest of our set, even if it was a great sounding song. Which it isn't, as already pointed out. So what does it benefit us, or our audience, to do it? As I said before, I can see no upsides here.
  13. Thanks all for the comments. A couple of responses. In terms of the rest of the set, we're in the process of moving away from pub rock to a sort of cool, adult oriented pop cover band. In that respect, this does not really fit the vibe we're trying to create unless we gut the song of any kind of meaning it ever had. On the authenticity point, I think this hits the nail right on the head. We're not a political band and we haven't been part of any struggle against anything much at all. So how could we carry this off? I don't think we could and it would look fake as soon as anyone saw us. So, on those two points alone, my mind is made up. I won't be doing it and suggest they don't either. Thanks all.
  14. The BL and the vocalist in my band both want us to add Billie Holiday's Strange Fruit to our set list. I'm not comfortable with it. Don't get me wrong, I'm not overly PC or all that susceptible to ideas of cultural appropriation. But this is a song about a particular time and place where some folks thought it was ok to lynch other folks for no other reason than the colour of their skin. It just feels wrong for a mostly white band to play it. And this is coming from me who, in being part Chinese, is the closest the band comes to an ethnic member. And I do get that it was written by a white civil rights activist. But it seems to me to be so much Billie's song that that fades a little in importance. For me, though, the real problem is that I cannot see any scenario where we perform this and don't end up looking bad. At best, it's a bit embarrassing and uncomfortable. At worse, we get a slating for appropriating another culture's music and never work again. There seems no upside to doing this. So, before I make a stand on this, I guess I wanted the Basschat hive mind's opinion. Do any other bands play this? Am I getting on my high horse about nothing? You're never going to make me happy playing this but I would appreciate a reality check. Cheers.
  15. A very thought provoking and fascinating piece. Thanks for sharing. There is a fine line, though, between an intelligent piece and being too clever for one's own good and I wonder whether, on occasions, it skirts the line a little too closely. Still, my life is still better for having heard it rather than not so, once again, thanks for the share.
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