TimR

[quote name='flyfisher' timestamp='1361349483' post='1984782'] ... The law is indeed behind the times. We don't even need a TV licence to watch iPlayer content, which I suspect is not really the original intention of the licence. [/quote] But it is restricted to territories where you are likely to have paid for it. I suspect that if you can receive TV programs, you should pay the license, whether anyone has been prosocuted yet is probably only a matter of time.

When you are soloing, ad libbing, busking, or otherwise creating a bass line; how far ahead are you thinking. Are you aiming for the next chord change, or two or more chords ahead? Do you think in terms of whole passages, or do you just play whatever appears under your fingers for the chord you're playing at the time? or something else...

[quote name='Mr. Foxen' timestamp='1361319591' post='1984675'] So your suggestion is that is a copy, or a copy is comparable to listening to radio. Legally, that is basically it, if you receive a file, you aren't copying it. [/quote] The radio station pay on your behalf everytime they send you the music.

[quote name='SteveK' timestamp='1361278242' post='1983719'] ... Some bold assertions here... 1. As do the majority of professional musicians today. Composers, quite rightly receive the greater rewards. 2. There are many examples of people having to pay to walk in to a building. Whether the architect is part of the profit sharing would be something for him to negotiate. 3. Then, don't work for Heinz. If you create your own sauce and work to get it in the stores, then you will most likely be paid for every jar sold. That's how it works. 4. Simply, not true! [/quote] 1. Yes nothing has changed there. 2. Why? He was paid a huge amount up front for his expertise and people will employ him in future to design buildings for them. 3. That's not the way it works. You're paid to design something and the manufacturer does all the advertising, testing, cooking, bottling, distribution, etc etc. You couldn't do it on the same scale without some serious backing. 4. Name one industry outside of art that does?

[quote name='stingrayPete1977' timestamp='1361207154' post='1982783'] I don't see why it's being pedantic, the E is sharp in the key of F sharp, it's just that it's the first time I have knowingly played one [/quote] It's not being pedantic. My example was that everyone knows what notes you mean and it's not worth having a long discussion in the practice studio over whether it's an Ab or a G#. In my example the guitarist called out the notes and after F# I was expecting him to say G# and when he said Ab it threw me for a microsecond. When I said it was G# he looked at me blankly like he'd never heard of a G#... If you're practicing and you call out C# D# E#, 9 times out of 10 you'll confuse someone.

[quote name='MiltyG565' timestamp='1361219348' post='1983093'] Mmmm, it seems to be. Loads of people speed and drink drive because they think they won't get caught. You're right, people do have a strong sense of morals. [/quote] Are you telling me that the only reason you don't drink and drive is that you might get caught. The only reason you don't steal things is that you might get caught and the only thing that stops you from assaulting or murdering people you don't like is that you might get caught. Clearly nonsense. If you're talking about copying music then I suspect you have a level of morality of your own. If it's an artist that you like and respect you may be more likely to buy the music. If it's a track for you to learn to play in your band that you're only going to listen to a few times then delete or file away then maybe you'd think twice. If it's a multi million selling track that you've already bought on vinyl? Are you saying the only reason you have not to copy music is that you might get caught?

[quote name='MiltyG565' timestamp='1361208286' post='1982815'] ... Like i have said before, if people think they will get away with something, they will do it. It doesn't make it right, even if it is legal. [/quote] Really? I think you find most people have a very strong sense of morals. Not everyone's morals are the same but "whether you can get away with something" is not a major factor in most people's decision making process.

[quote name='lojo' timestamp='1361171002' post='1982065'] I'm an educated player, but I find arguing about chords annoying and a complete waste of time, at least for covers, everyone should do thier homework before a run through, regardless if you can read or not. So unless you decide to change key during a session there should be no conversation in an ideal world. [/quote] The key being an ideal world. I find quite often that it's not always easy to pick out some lines and somoetimes what the guitarist hears and interprets are different to what I have heard and interpreted. Especially when the bass is indistinct on the recording and 'almost' doubles the guitar. That's what practices are for, to make sure you're all playing together.

So. Before recorded music, musicians got paid for their time in the same way that practically every single other profession does. If I was an architect I wouldn't get paid everytime someone walked into a building I designed. If I worked for Heinz and formulated a new ketchup recipie I wouldn't get paid everytime someone bought ketchup. Musicians essentially struck a deal with the distributors that everytime they sold a unit then the musician should get a share. No other industry works in this way. This enabled some musicians to become much more wealthy than their initial efforts warranted. It allowed distinutors and the people who initially invested in the musicians to become far more wealthy than their investment risk warranted. Far more wealthy than the initial purpose of copyright which was to ensure that musicians were not taken advantage of and were able to continue making music. Making, recording and distributing music has become easier and cheaper, the rewards are becoming realigned. It's harder to make money from sales, but then it's harder for everyone to make money now, regardless of their profession.

Life can sometimes get a bit short to be pedantic. Arguing with a guitarist that the run is E F# G# A and not E F# Ab A is not always a productive use of practice time. Shrug play the notes and move on

[quote name='pete.young' timestamp='1361133116' post='1981674'] ... Since you already have an F# and a D#. and according to some arcane rule of musical theory you're only allowed to use each letter once, you end up with E## rather than F . ... [/quote] Nope E## is F#. Typo?

...it's on YouTube of course: http://www.youtube.com/watch?v=fAiR5H2U01Q&feature=youtube_gdata_player John Peel's Sunday Concert 16 July 1970. Post Syd though.

I bought Ummagumma and Meddle because I had a tape I recorded off the radio of either John Peel or Bob Harris introducing them possibly at Miada Vale with the BBC concert orchestra? Atom Heart Mother, Set the controls to the heart of the sun, several small animals etc. No idea where that tape is now. Probably get it on line somewhere now.

I'm either thick skinned, laid back or simply missing these contentious threads.

[quote name='phil.i.stein' timestamp='1360700206' post='1975066'] a chatter. [/quote] You knew that didn't you? [url="http://en.wikipedia.org/wiki/List_of_collective_nouns"]http://en.wikipedia.org/wiki/List_of_collective_nouns[/url]

It probably also depends on the size of cable and breaker running from the house. Two loud bands will be pulling a fair amount of current, add lights and you could get voltage sag which might account for loss in volume when two bands are in. All sounds a bit dodgy.

A couple of the guys I play with were active in Cambridge in the 60s and knew Syd in passing. There's a bit more info here, a film etc http://www.i-spysydincambridge.com/ http://www.i-spysydincambridge.com/assets/pdf/booklet-march2011.pdf

Big shed? Is this an out building supplied from another building? If so it's likely that the building earth is suspect. Make sure you are using an RCD. £10 from B&Q that could save your life.

Should be Spinyl as in vinyl. That would get more attention. Although telling people your web adress would be tortuous...

Probably down to Neil Peart's love of big band jazz. http://en.m.wikipedia.org/wiki/Powerhouse_(instrumental)

Not to mention the 3 rings from a pre arranged phone box that meant come and pick me up.

[quote name='martin8708' timestamp='1359756364' post='1960071'] I'm one of those Luddites who does not have a mobile phone ( shock horror ) I stay in touch with band members by landline and our weekly rehearsal and now even by that new e-mail thingy . All the bands in the 60's 70's and 80's. seemed to survive just fine without a mobile phone . When I have to endure some other person having a conversation on a mobile phone , the majority seem to be entirely without fact or substance , so I'm quite happy as I am . PS , never missed a gig or a rehearsal , I use a calendar . [/quote] I think the immediacy of communication can be a bad thing. If you organised a practice for next week at 8pm then it was organised and generally happened. This is for two reasons: 1) it was difficult to get hold of someone when they weren't at home. Most people didn't even have answer phones. So changing things was hard. 2) because of 1), other things didn't get changed either and hence didn't impact on previous commitments. There seems to be a lot of people who are quite happy to cancel something because something "better" comes along.

There seems to be a growing urgency in our lives to respond immediately to every bleep and buzz. I hate it. Quite often I'll read a text and if I don't have an immediate answer I'll sit on it. I live in an area where there is no signal and sometimes don't get a message for 24hours+. If you need an urgent reply, or even any reply, you need to make it clear in your message and if you don't get a reply then call.

[quote name='discreet' timestamp='1359494337' post='1955769'] Yes! I spent way more time than I should have with a couple of assholes who talked the talk but turned out to be bloody time-wasters. A real shame actually, because they were [i]exceptionally [/i]good musicians. I really don't get why you would go to all the trouble to learn to play, buy proper gear, work on material, recruit band members, spend money on transport and rehearsing yet have no intention of gigging whatsoever!! Is it [i]really [/i]just so they can tell their friends they're in a band?? [/quote] We've done this loads of times. There are many Bassplayers here who freely admit that they're happy playing only music they like at rehearsals with friends over a few beers. There are a few who will occasionally venture as far as their local once every few weeks to play a session. I've no problem with that at all. In fact my 'second' band seem quite happy to do that. They've all reached an age where they have busy job or are retired and just can't be bothered with all the hassle gigging brings. I wish they'd been a bit more up front when I joined though. Then I wouldn't be playing in two bands People should be more honest with themselves and their band mates about what they actually want. Although I'm not that sure they do know themselves.

In my experience there are a lot of people who like to be in a band so they can tell their friends they're in a band. So they'll call you to sound you out. If you gig regularly, practice to a high standard then that's not really what they want but they can't join a gigging band that actually gigs, they just want one that practices lots, drinks beer, and talks about doing some gigs at some stage, maybe.