Dad3353

That's quite severe; you're allowed a bit more than seven seconds. ...

That's never stopped Lenny. ...

Our nearest neighbour runs a plumbing/heating business. I 'phoned him a while back, asking if he could look at our water pressure. He popped round one day when I was out, and the pressure regulator was changed (pressure restored...). No invoice, or fee. He was surprised (and pleased...) when I dropped in to offer him a bottle; he had refused the money I had offered. Sometimes there are other concerns than one's professional or otherwise status. Just sayin'.

My other pet peeve is apostrophes. ...

Maybe I've just been lucky, but I've never worked for money, I've always chosen work that interests me. It has helped that I'm rather broad-minded in the field I choose, and learn very quickly. From avionics to IT, audio manufacture, professional gardening, lab instrument manufacture, jukebox and video game repair, musician (of course...), technician in a music shop, freelance programmer, short spell on a building site (between jobs...), pool-table manufacture, disco installation, back to IT, teaching, programming production systems for various French, Dutch and US companies as IT manager, then retirement. None of these posts were highly paid; all were rewarding. When playing music (drummer...) professionally, I got paid a pittance, but enjoyed the whole process, and have fistfuls of anecdotes and memories from those days that, to me, are priceless. Whilst working, I also played weddings and functions as a duo with a buddy for several years, and helped a local rock/punk/ska band get off the ground by doing their transport, sound, then their lights, for a few years more. Again, all unpaid, but a further store of unforgettable moments. Now retired, of course, I have a very modest income and a very modestly confortable lifestyle. I would not have had such enjoyment of my life had I gone looking for fame or fortune. No regrets, and I still play for free when asked.

Almost. The drummer is, for the most part, playing to a 'click' track, so, although there are solo spots and (much..!) improvisation, the whole show is pretty strictly timed, with short 'free' passages in between numbers. If the spots don't fall on the right person at the right time, the effect is lost, and if the frontman changes his posture (leaning forward menacingly into an eery green footlight...) when it's on, it can't be rolled back. It's a matter of 'loose' synchronising, along with pre-planning for all concerned. Much like a lot of backing tracks, I think.

No, the lights stayed in time with the band.

How about the lighting..? Can that be pre-programmed..? I had the whole 'Kiemsa' set on my laptop, in the right order, and much of it was automatic. I would do particular stabs and flashes, and some of the 'black-outs', but wouldn't have enough fingers and thumbs to do all of the Fx manually. It worked very well, for several years; no-one insisted that the lights be done all by hand. Is there any difference..? It's all part of the performance, no..?

Like these..?

Not just any 30w, but a Vox AC30..! Those beggars get to be incredibly loud..!

Time to invest in a more modern system..?

Indeed, but that's still three times the cost of the cables required. Is it worth it for a pub stage..? Maybe. We all make our choices.

If you have a laptop available (even a very modest one, with Windows...), this Usb-Dmx interface is excellent. Sunlite Suite 2 FC 1536 channels DMX512 Stage Lighting Controller... I have an older version which has worked faithfully for a couple of decades, and permits extremely simple, or extremely powerful, Dmx control of multiple lighting fixtures, included moving heads, strobes etc. Programming can be done at home, with a virtual stage 3D display. Highly recommended for those willing and able to do more than just switching on and off. This was done using it (plus a 'manual' lighting desk. We were two to operate the lights...)... (That's Our Eldest on guitar, in black T-shirt ...)

At a cost of several hundred pounds, it would have to be a serious investment to justify this expense. Probably worth considering where great distances are involved, or where cabling is prohibitive (an outdoor event across water, for instance, or lighting an ancient monument..?). I know that decent Dmx cables are not cheap, either, but I doubt their value for money for most venues. An option, but not a low-budget one.

Good evening... Not easy in words of less than one syllable, but I'll try. Disclaimer : I did the lights for Kiemsa (pop/rock/ska originals, toured all over France...) for several years. I used a laptop with a Sunlite DMX controller; it worked a treat, but I was the dedicated 'lighter'. It can't be done that way piloted by anyone playing. If your requirements are modest, a simple DMX controller with a four-button footswitch would do. Look at the Stairville Stage TRI LED Bundle Remote (Thomann...), which works with several Stairville lighting rigs. It's all decent enough stuff for pub gigs, and there's not much available for lower budgets that that. If your needs are more sophisticated, the budget goes up exponentially. A Stairville rig (or equivalent...) will suffice, though, to do what you describe. You may have to invest in a compatible rig, and sell you current system (or keep your rig as 'extra' Fx; in lighting, less is not necessarily more...). Look at the Thomann stuff, and get back with questions if need be. Hope this helps. Douglas Edit : Norris (above ^^...) is on the money, too. I concur with my learned colleague.

Use the 'choose files' link in the Edit box, navigate to and choose the Pdf file. Once imported, there's a hidden 'Insert' button that's revealed when hovering the mouse cursor over the bottom right of the 'Uploaded Images' box at the bottom of the Edit box. . See screenshot below... (This is assuming use of a PC, and none of this 'smart 'phone' stuff. That's witchcraft ...)

Is this not good enough..?

I can understand why there's no bass tab for this, as it's in the category 'Country', where it's only root-five, which means playing, basically, the same note as the chord being played. Here's a guitar tab, useful as it has the lyrics, with the chord played inserted. All you have to do is play that note ('D' for any Dm, 'G' for any G etc...) at the right time, which you can easily find by playing along to the video. There's a slight 'hic', though : it's being played in Dm, so it would be best played on a 5-string bass, unless you tune a 4-string bass down one whole tone. Have a look at the tab linked and see what it inspires. They don't come much easier to ply than this, even for beginners, so Good Luck with it. Here's hoping it wows the 'someone' targeted..! 'Telescope' guitar tab with lyrics...

And the winner is... @MoonBassAlpha..! Here, then, is your Winner's Certificate (download and save as pdf file, then proudly print and frame...) ... BC_Chal_Cert_2024_12.pdf ... which look like this (but bigger, of course..!)... ... and a Happy New Year to one and all.

In case it still interests you, a reply from GC Admin... 'There are posting settings saying you need 5 posts to be able to post in 'General Discussion'...' I suspect that it's an anti-Spam measure. No idea about "warning points'; probably a 'start-up' glitch. A 'Report' to Admin would probably get it fixed. Hope this helps.

Makes no odds; they're deaf anyway. ...

Now you know how you can help him, with the time you've saved with your own rapid set-up.

I'd echo all of the above; you get what you pay for, and your ears will tell you if it's what you want for your music. I'd add a couple of details, which concern the higher-priced cymbals, mostly, but is good for all, basically. Most quality cymbals are cast, and then turned, on a lathe, which results in them having grooves in them, in similar fashion to vinyl records (remember them..?). This helps to explain why careful handling is key to having their original tone maintained throughout their life. Most folk take care handling vinyl, and wouldn't dream of leaving grubby fingerprints on the playing surface. Once degradation has started, no amount of cleaning will restore the music; the only real solution is to keep them as clean as possible for as long as possible. Thus it it with cymbals; one does not 'clean' them, one maintains their cleanliness. Getting them shiny with Brasso and the like may be good for the video shoot, but the sound they had in the studio is then ruined. My cymbals, for example, are kept in 'Cymbags', until they are on their perches; I remove the Cymbag when I play, and put it back immediately when finished. The metal is never touched by human hand, only the tip (olive...) of the drumsticks. I use nylon olives, which leave no marks on drum heads nor cymbals. Another factor to be considered is strength. By their function, one is hitting the cymbals; they must be able to resist this. The more delicate the sound, the more delicate the cymbal, generally (and the more expensive..!). When playing in the UK, with light folk/pop groups, I had splendid Paiste 602 cymbals, which sound awesome (to me...). I moved to France, and toured in variety bands, playing larger venues, with no PA support (mid-seventies...). 'Variety' is what the name suggests : various styles from '30s dance music (musette...), '70s popular songs and some rock stuff. These latter did for my cymbals, as, although not being a particularly heavy hitter, they did not appreciate being played in that fashion. I replaced them, as and when they split, with Paiste 2002 versions, which don't have the same crystalline ring, but withstand rock rhythms much better. I now play with a mixture of Paiste and Sabian, but insist on using, in our micro-studio, my Paiste 602 Sound Edge hi-hat, as it's the most responsive to the way I play. I don't 'leather 'em', though. Although I have bought cymbals second-hand, if the price is right and the condition is pristine, but I prefer to go through a rack of cymbals in a shop, using my sticks, and choose by ear, as there can be quite some difference in tone and response, even from the same model. Slightly academic these days, as I now play mostly e-drums, and can choose from a vast selection of top-end instruments without spending a fortune or deafening fellow musicians on stage. No, it's not the same as playing acoustic, but I get a repeatable great sound without having to worry about mis-handling them. Disclaimer : I'm a drummer; I could go on and on for ages on the subject, so I'll stop now. Hope this helps.

You can check out any time you like, but ... ...

The more you post there, the more others will post there.