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lozkerr

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lozkerr last won the day on May 2

lozkerr had the most liked content!

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About lozkerr

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    Edinburgh

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  1. Red Dog seems to have gone phut. I noticed the Grassmarket branch was closed today, and their website says they're in administration. dub-a-dum-dum-dum... another one bites the dust ☹️
  2. lozkerr

    Front lighting

    This trip down memory lane's made me wish I'd kept my lighting rig, but my partner - now my ex - insisted I got rid of it. Those were exactly the lanterns I had - four Patt 23, eight Patt 123, a Patt 60, eight PAR 56s and a couple of Sils. I had a pair of colour wheels for the Patt 23s, plus an effects unit and three telescopic stands with scaff bars. I had my own desk - after being given some horrendous rubbish by hire companies, I bought a Zero 88 24-way two-preset manual desk and a Betapack with a ten-metre length of Socapex. I'd hire more dimmers when I needed them, but that desk was mine and woe betide anyone laying a finger on it. I never got on with computerised desks - I was taught to take cues to match the performance and occasionally had to alter things on the fly. I had GAS (or maybe that should be LAS) too - I was always on the lookout for half a dozen Patt 750 beamlights. Lovely lanterns - they had far more punch than a PAR can, although they did need constant cleaning to keep the beam well-defined. I'll have to defer to your experience with LED lights, but I can well believe it. I've noticed lighting seems to be more garish these days. I'd be interested to know how well they fade, if at all - once the voltage across the pn junction of an LED drops below the threshold, out goes the light. How does it work - are the LEDs turned off incrementally, or can they actually fade properly? Oh, and according to the Lee swatch book I've kept, surprise pink is 194. LQ2: DBO
  3. lozkerr

    Front lighting

    I can recommend two good books on the subject, if anyone's interested: Francis Reid - The Stage Lighting Handbook Robert Pilbrow - Stage Lighting If time and money are tight, I'd recommend starting with Reid's book. Both concentrate on theatre rather than bands, but the principles are exactly the same. My editions pre-date the LED and cheap demux era, but the methods of painting with light haven't altered.
  4. lozkerr

    Front lighting

    117 steel and 103 straw were the colours I used to use for a general cover, to the extent that I'd keep a roll of each in my gig bag, along with electrician's tools, adjustable spanners, gaffer tape, baling wire and fuses, plus 63- and 32 amp sockets with bare tails attached. When you rock up to a village hall and find there's no lighting, the cooker supply is your friend 🙂
  5. lozkerr

    Lightbulb joke...

    They do, but by proxy. Consultants convince permie manglement to launch change initiatives, which by pure coincidence just need the consultants' consultancies to be directly involved. Pure coincidence, natch.
  6. lozkerr

    Front lighting

    Sieg Heil! That thoroughly un-PC expression was how I was taught to do stage lighting back in the day. Now, this was for theatre rather than music, but I'm getting the impression from the OP that an expressively-lit face is crucial. So this is how it's done. Stand on the stage in the position you want lit. Make a Nazi salute and then turn your arm 45 degrees to the side. You are now pointing at the centre of the light that needs to illuminate the right side of your face. Repeat this gesture with your left hand. You are now pointing at the centre of the light that needs to illuminate the left side of your face. Rinse and repeat for every musician that needs to stand on the front row. That will give you the number of lanterns that you need mounted in front of you. However, there is some flexibility in the 45 degree rule. You can go from 30 degrees to 60 degrees without affecting the mood, especially in a small venue. @Dad3353, you're bang on about warm and cool. I used to use steel for cool and straw for warm, which gives a nice neutral general cover when both sides are up full. There's no rule about which tone should come from stage left or stage right - rig it as you feel it. It's not a bad idea to watch which way the sun goes down and set warm towards the sunset. But just keep it consistent. Then add washes as the show demands, and mix it as you feel it.
  7. lozkerr

    Imposter Sydrome

    Oh boy. This, absolutely this. But when you crack that first phrase and suddenly it all drops into place, even if what you're playing doesn't exactly match the recording you''re trying to mimic - hell, you feel on top of the world. Zero to hero in an instant. I've been working on some Passions basslines recently. Apart from I'm In Love With A German Film Star, which everybody and their dog knows and it's dead easy, they're about as common as rocking horse sh|t, so I've had to to spend ages recording little snippets and sussing out the basslines by ear. But that feeling when I've nailed just one phrase and the whole song's opened up as a result - well, there's nothing to beat it. I have to keep reminding myself that Claire Bidwell wrote the basslines wile she was working with the band forty years ago and she never published them, so I'm having to put in more graft than she did. I think impostor syndrome's a good thing, even though it plays hell with your psyche - it's the direct opposite of complacency, which is fatal for a musician. There's aye someone better than yersel!
  8. lozkerr

    Eden Glowplug

    Well, I've finally had a chance tonight to sit down and annoy the neighbours while I tried it out. I'm well impressed. My Metro is still in store, so I had to use my little Eden EC8 solid state practice amp. But the richer tone was really noticeable straight away. It's very responsive but I found I needed to fiddle with the mix and crossover controls quite a bit to avoid fuzziness. But I did manage to get a lovely warm and rich sound out of it. Having said that, the overdriven sound is fantastic, so if that's your thing, just plug and play. I suspect I'll need to find the sweet spot when I hook it up to the Metro, and maybe mark the settings with a spot of paint. Then I just need to remember to turn right for the fuzz and left to dial it back. But this pedal definitely delivers the goods. whaz hot: solidly built, responsive controls, LED to show if it's on or off, gorgeous tone, does what it says on the tin whaz not: the PSU is (a) 15 volts and (b) really flimsy. It flexed so much that I thought I'd broken it when I first plugged it in. That's a drawback in a pedal costing north of 100 quid. overall: well chuffed. This beastie's a keeper - I'll just have to put up with two PSUs on my pedal board.
  9. lozkerr

    Eden Glowplug

    Same amp as I've got! I l love my Metro - I just wish it didn't weigh so much. But the tone's gorgeous. I'm hoping the Glowplug will give it just that little extra. All the reviews I've read have been positive, with the only gripe being the 15V PSU, so I'm hoping it'll be a worthwhile investment.
  10. lozkerr

    Eden Glowplug

    And two years on, what's the verdict? I've just bought one and I'm looking forward to trying it out!
  11. lozkerr

    What does 'standards' actually mean for songs

    For some reason, this sprang immediately to mind...
  12. lozkerr

    5's and 4's

    Father, forgive me for I have sinned. I didst count the strings to four and all was good. And then I didst count yet another string. Five was the number of strings and the number of the strings was five. And yea, did I allow myself to yet pluck the string and the sound was good. I turned aside from the path of righteousness and found within myself that I did yet make music that was pleasing to the Lord God of Bass with sinful lack of effort, and the music didst exceed that which I could yet play when the number of strings was but four. And Lo! The band of disciples - for always shalt the other players of strings follow the Lord God of Bass - did say that it was good and did promise to wreak a plague of locusts upon my soul should I worship at the Temple with but four strings. They spake in tongues and didst proclaim 'thou now hast a decent instrument and we do dig thy grooves, man'.
  13. lozkerr

    5's and 4's

    Lo, verily I crave that thou dost save me a seat; for I too have been cast down from the path of righteousness by the temptation of BEADG.
  14. lozkerr

    Duffer's guide to writing lyrics....

    Thanks Dad! I really appreciate that. The lines still need a fair bit of work - some of it feels cringey and it doesn't flow as well as I'd like - but I think the overall feeling is about there. There is some personal stuff in it - the last few years haven't been the easiest for me - but it's not relating a specific experience. I just let my imagination wander about a bit. The sound I have in my head is something like this: Tanita Tikaram - Little Sister Leaving Town and Tanita Tikaram - Preyed Upon Not an exact copy, but that sort of moody, sad and empty feeling. I think the drums are a tad too intrusive on Preyed Upon, but that's likely just me. Plenty of slides on the bass and yes, a distant sustained guitar would work well. I'll have to persuade my other half to dust off her Gibson 🙂 I think the trick will be to see what sort of bassline seems to work and build it from there. Melodies aren't my strong point though, so it might be a bit hit and miss. And 100% agreed - no bagpipes! The chap on Castlehill was squawking away when I was jotting some of that down earlier and it was really jarring.
  15. lozkerr

    Duffer's guide to writing lyrics....

    I've had another play with it, and it's coming together slowly. The idea is the narrator is reliving his last day with his true love. It's still more doggerel than lyricism, but this is where I've got to: I'm sending you a letter saying where we went today. The park, the zoo, on the terrace on a seat for two. A glass of wine, a bite to eat, we had so much to say About our lives together, where we'd go and what we'd do We arrived here bleary-eyed on the early morning train The one on which, that fateful day, that she first caught my eye The sunrise lit the fleecy clouds with a soft pink primrose stain And we caught our breath in wonder at the castle in the sky We ran through the dewy gardens, gazed at the flowered clock Climbed the sandstone rocket and looked out across the bay Her hair fluttered in the breeze as she said I was her rock We would face the world together, starting right now here today (split up and meet later - both want to do different things) (accident) (funeral) (leaving - will return to relive perfect day) As I walked with my head down I swore I would return So I'm sending you this letter saying what we did today The sights, the sounds, the smells, I could go on and one But when the waiter asked me, I had nothing real to say She was only there in memory, reality had gone Once I've put something together for the verses described in brackets, I'll see if I can tidy it up a bit. It takes place in and around Princes Street Gardens - the 'castle in the sky' is Edinburgh Castle, the 'flowered clock' is the floral clock and the 'sandstone rocket' is the Scott Monument. Bit too purple at the moment, but I think it's heading in the right direction.
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