lozkerr

I'm happy to be old-fashioned in that respect; when something is pulled from Spotify or YouTube, I still have it to hand. There's a certain satisfaction in knowing that my music collection isn't subject to the whims of some faceless American data hoover. I like to think of it as sticking it to The Man, 21st century style 😊

I use a Boss eBand JS10 for learning by ear. I convert the song to an MP3 either by ripping from CD, recording from vinyl or converting a leeched YouTube video. As well as being able to slow the tempo, it has the facility to record small snippets which can also be slowed down. That comes in very handy when working out tricker bits where the bass isn't that audible. It's a nice, albeit pricey bit of gear. The only downside is the 3.5 mm headphone socket - the weight of an adapter plus headphone jack strains the socket making it cut out intermittently - but I hook that up to my practice amp's aux input and plug my cans into that instead. It works well.

I think you've nailed it. If you did a poll of random people and asked them to name a 'classic' punk album, I would expect most of them to name Never Mind The Bollocks. Or Dark Side Of The Moon if you asked about concept albums, Sergeant Pepper if you asked for a Beatles album, and so on. They might not necessarily be musically the best, but they're the ones people remember.

I've got 34 of those albums, some of which I've only listened to once or twice and most of which I missed the first time around. The only one I feel I did miss out on is Parallel Lines.

Piece Of My Heart, Dogs Of War and Valerie (Zutons original) in the song department. I'm also working through the Hal Leonard Bass Blues book I treated myself to on Chrimble Eve. I'm a fair way through it already, which has been a huge encouragement as it shows I know a wee bit more than I thought I did. I'm also working out some Passions basslines by ear. It's harder than I thought it would be, but I'm getting there.

+1 for Ultravox. I love their first three albums and still listen to them a lot. But when John Foxx left, he took the hard edge with him and the band became a shadow of its former self. I quite like the idea of an Ultravox tribute band, except that we'd be stuck with playing bloody Vienna at every single gig.

You could of course do both, in the interests of providing a balanced response.

I've just bought a lighting rig and a pedalboard. Does that mean I have to get the 115 cab I'm after before Hogmanay?

Aye. Props to the guy for successfully gaming the system - except that he's just made it a wee bit harder for everyone else and the band he hired are all out of pocket. Manipulative wee shite.

This, absolutely this. If I'm awake, I think I'm slacking if I'm not practising. Logic tells me that the day job and flat renovation should take precedence, but... bass!

My turn... best thing I've bought is my Fender Jazz V American Deluxe, closely followed by my Eden Metro. Worst... probably my Steinberger Spirit. It's a nice little bass, but the playing position is very different to the Fender. The original plan was to take it with me when I was on my travels and keep the practice speed up, but the different playing positions have meant that I just do finger exercises and work on new stuff on it, and polish it up on the Fender when I get home.

I thought that might be the case, sadly. Might not be a problem for a band, but drama's a different matter. I'm almost tempted to get back into it - without want to sound too much bigly, I was pretty good at it back in the day. Aye, balancing 750s was a bit of a black art. Our studio only had a single-phase supply though, so at a thousand watts a pop, they seriously ate into the juice available for general cover. I used to use them for things that needed stabbing beams of light - a cluster of them for sunbeams in an expressionist show, sometimes a couple to suggest the direction of the sun along with a general cover, a saltire using two at an angle with a blue wash and a fog machine, wartime searchlights and so on. Used sparingly, they were tremendously effective. Hm, my credit card's itching... just popping over to fleabay... X-fade --> GC/5

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 ☹️

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

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.

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 🙂

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.

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.

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!

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.

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.

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