Dad3353

Oh, is that the time..? Must dash; last bus, y'know...

Oh, there's a quieter spot at that table over there. T'was nice meeting you; enjoy your evening. [Scuttles off to another table; any table...]

OK, strawberry milkshake, then. I'm not sure I want to risk asking for a mug of Earl Grey, with a twist of lemon. I said strawberry milkshake, then. It's too loud here.

Shove over, buddy; make a space. I just knew I shouldn't have come this evening. Garçon..? Lait fraise, s'il te plait..?

A bit of a rat's @rse, then, eh..? ...

There are not many beautiful keyboards.

Those that have never had a problem or have simply just not thought of doing it, I suppose (such as myself...), but it does appeal, now that you've shown it. Well played, that man.

No, you're right, naturally, but it's not necessary to know how to do it before having the sordid idea, that's all I was suggesting. Some folks are crazy, s'all..!

My order says 30th January.

Not at all. Thinking that a slap bass fits in a Beatles song could well be the stimulus required to learn how to do it, no..? I agree about it being the devil's road, of course.

... or 'How to ruin a perfectly good microphone in one easy lesson'..! No need for disto pedals, though.

@Lozz196: With a head of sawdust and some wood chips, maybe..?

There's none so deaf as those that will not hear.

S'never been a problem for me...

Nobody likes a clever-clogs..! ... ...

Good evening, Pete, and ... Plenty to read and amuse you here, and lots to learn and share.

This ^^ is correct. The pins will have a groove in them. This groove should be facing the headstock, and will slide down the string, past the ball-end. When under tension, the ball-end will not be beneath the pin, but alongside, such that the more tension, the more the string itself tightens the pin against the hole. If done properly, the pin cannot come out, however high the tension. The bridge would bust first. Hope this helps.

Which begs the retort: 'You can play it alright on your own, then..!'

We play our own version for two main reasons (there are often others...). Firstly, we may not (in fact probably don't have...) the instruments of the original. Example: our singer does a vocal impression of the trombone solo in Beds Are Burning. We once had a few mates on stage with us as a horn section, and it was glorious, but without them, it's 'Parp Parp' from the singer. Secondly, I play drums. I'm (modestly...) quite good, but not up to Soundgarden standards, so I simplify the fills when necessary. RATM I can handle, or Muse, but SOAD has some pretty technical stuff going on, for which there's not enough years left in me to learn. I do what I can with 'em (and it's not catastrophic, just simplified...). Sometimes we just do it differently because we like it better our way, of course. No, it's not laziness.

Whilst this is undoubtedly true of some (many..?) there are those that are passionate about Music, of whatever genre, and are willing, even eager, to at least give an honest chance to unknown stuff. Many of these folks are musicians, and will willingly play in a variety of styles. Not all, it's true but it's not at all rare, either. Just my tuppence-worth.

Is that a modern version of the expression 'Get on your bike'..?

Maybe not worth labouring the point; it's only semantics and pedantry, really. Does 'blues' come only from the Delta (to some, it does...). Is 'jazz' only New Orleans..? Does Beatlemania include The Dave Clark Five..? There are more, and all good talking points, but... whatever, really. Just my view, of course.

There's not enough room on top of the bass drum for everyone.

Wikipedia, on 'Grunge' ... Grunge ...

Aha..! They perform and play in 3-D..! Good Stuff; thanks for sharing.