arthurhenry

[quote name='TimR' timestamp='1492078216' post='3277701'] I suspect it may be you then if it 'happens in nearly every band' you're in. The problem with learning songs 'exactly as per the original' is that music just doesn't work that way. Many original artists don't even play the songs as per the original recording when they play live. I suspect what most of your fellow musicians (and certainly what we do) are learning the form and key riffs and parts on their own and then seeing what has to be adjusted within the arrangement to make the song work as close to the original as you find acceptable. If you start being over critical on individual parts, even if you slavishly learn your part note for note from the record, it just won't work. The other problem with learning songs note for note is the amount of time and dedication needed to do that when you turn up to the next rehearsal and find the song doesn't fit the band, you've wasted a lot of time and the band members will then get bogged down, and waste even more time, forcing it to work because they don't want to see all that wasted time lost. Learn the structure and key parts, relax and have fun. Just don't cut out mid sections because 'they're too hard' [/quote] There is huge value in learning songs note for note for any musician. Even if the band decides that a particular song won't work after you've all learnt it, you will still have gained something as a musician by going through that learning process and even by recognising that it won't work for your band. Imagine if every band member put the work in and learnt and practised songs until they knew them inside out. Then they came together and played them. Why does that seem like a fantasy?!

More fun if you get to do the high B backing vocals "Ah-aaaah".

Phew! When I saw this topic, I thought he'd died.

[quote name='dlloyd' timestamp='1491683507' post='3274825'] Are these freeholds or managed pubs? Managers working for a chain draw a salary. It makes no difference to them if they are making steady business or if they are packing the place out... [/quote] Both, but I would say mostly freeholds. Perhaps LLs of these places have more of a vision of exactly what they want, whereas Managers for a chain don't really care if they like the band or not.

The old adage of "Play stuff they can dance too, sell more beer; Happy landlady/lord" is sometimes too simple to be true. Over the years I have found that the personal taste of the venue owner has much to do with whether or not you are re-booked.

[quote name='Grangur' timestamp='1491655058' post='3274600'] .... and the more egotistical they get. They are talented, I'll give them that, but they do have an ego. [/quote] True. This is notable, though not necessarily a bad thing.

I have no doubt that passion for music (and maybe flat-pack furniture) is what drives them. Regardless of the need to pay bills, I wonder if they feel a bit unclean as they dream up their next provocative video title.

I'm sometimes surprised by Scott Devine and Janek Gwizdala's use of "clickbait" in their video titles. Both are highly knowledgable, articulate, talented people with much to offer bass students, but this seems at odds with the rather cheap methods they employ to attract attention to their videos. I realise they are business men with a product to promote in a competitive market place, but it feels a bit cringeworthy and populist. Some examples: Devine: Ultimate hack for learning and using the modes (does he mean "method"?) How to play bass fast. 5 ultimate tips Master the entire fingerboard with these 5 simple shapes Gwizdala: A street dog that will melt your heart Practicing (sic) with the TV on. Good or bad? Taking divorce one day at a time (A video with much useful info about bass and music and a brief, sensitive discussion about the end of Janek's relationship - why did he give it this title?) Gwizdala also seems particularly fond of filming himself constructing and even shopping for, flat-pack furniture. Please note: I am not criticising or complaining, just stating my personal reaction and hopefully prompting some discussion. It doesn't really matter anyway!

[quote name='SteveK' timestamp='1491344845' post='3272359'] Expect some chump will be along shortly to mention Budgie's classic ballads: 'Nude Disintegrating Parachutist Woman', and 'Hot as a Docker's Armpit' [/quote] You could mention them, but I prefer the superior "In The Grip Of A Tyre Fitter's Hand". There's always Fairport Convention's "[color=#000000][font=sans-serif][size=3]Sir B. McKenzie's Daughter's Lament for the 77th Mounted Lancers Retreat from the Straits of Loch Knombe, in the Year of Our Lord 1727, on the Occasion of the Announcement of Her Marriage to the Laird of Kinleakie"[/size][/font][/color]

How do the stereo outputs work? I currently split my signal with an ABY box into a bass amp and guitar amp. Would the zoom do the same job? Will I get the same signal from each output?

Better than "Found out my vintage bass was made in 2012"!

Celebration - Kool & The Gang. I could play the G in the verses forever.

[quote name='bartelby' timestamp='1490607128' post='3266266'] I've got a Talas years bass tab book. I flick through it just to laugh at the transcriptions of the two solo pieces [/quote] Meaning they're inaccurate?

Having children puts a stop to the attendance of one's partner.

What's wrong with one string and five frets?

[quote name='TrevorR' timestamp='1490385676' post='3264853'] As is Dakota. Dull dull dull... but the punters seem to go crazy for it. Never been able to get why. [/quote] I've never understood this opinion of Dakota. Digging in hard on the 8th notes, a few octave skips on the C#, open E against the octave, the Eb/E accent turnarounds in each verse done in two octaves, fast triplets between open E and A and a few power chords in the chorus, sixteenth notes in the outro. Great fun.

Are the other people in the band great musicians with whom you enjoy playing? Playing "Trite" covers with them will be a lot more fun and rewarding than playing songs you love with poor musicians.

My verdict: Compression is good; functional and musical SansAmp seems like it would do a great job of replacing a rig or enhancing a house rig. However, if you're happy with your main rig, it won't add much. The drive/character controls are disappointing, providing a fairly nasty distortion which sounds like the speaker breaking up, in a bad way. The bite button has little discernible effect. Chorus is basic, but very usable Tuner works really well OctaFilter section is by far the most impressive part, but all the available sounds are "dirty". On some settings, the fuzz button actually cleans the sound up a bit! The octave is much less effective in the higher register for some reason.The minimoog sound is amazing. Overall disappointing as an enhancement to a live rig or a multi effect, but this isn't Tech 21's main intention. More useful as a studio device.

To be fair, he got it all from Michael J. Fox.

Hendrix's first ever Marshall head fetched £20,000 at auction.

Jamie Oliver - Drums Mary Berry - Guitar Delia Smith - Vocals Hugh Fearnley-Whittingstall - Bass

It's no joke. In some venues (Working men's clubs, which you'd imagine had shut down at the end of the 70s) it's all they want to hear.

I think of them as a way of keeping all the electronics together and the bass separate. They can be useful if you prefer to keep effects on top of the amp. It's really just another way of organising things.

BAX were cheapest online for the item I wanted, but it arrived two days late. I had no problems contacting customer service by email or phone and they were very apologetic. It seems there are sometimes co-ordination problems between their European couriers and Hermes as well as communication difficulties between BAX and the couriers.

I remember seeing him play for Diamond Head when they opened for Metallica at Milton Keynes in '93. In an interview, he stated that he was paid £10 for the gig.