Dad3353

For the count-in, it's 'One, Two Three Four and...', all come in on the 'Four and...'. The 'problem' is in the drums, of course, as there's a switch of emphasis early on. During the opening guitar solo riff, the drums are playing the snare on the fore-beat, except for the very first 'One...', which is bass drum. Once the vocals come in, they revert to the 'normal' back-beat. There are no hidden bars, nor 'slippage', it's only the drums that need to worry about the timing, as the bass, guitars and vocals are all keeping the same emphasis throughout, starting on the 'Four and...'. Here's a drum score, if it helps (Download and save as 'All_Alon_The_Watc_Hend_Drum.pdf'...) ... [attachment=229057:All_Alon_The_Watc_Hend_Drum.pdf]

In 2016, mono mixing is still [i]de rigueur[/i] in the best studios, as a test of balance between the instruments, and across the frequency spectrum. The releases are in stereo (mostly...), but they've been checked out to sound 'top notch' in mono, first.

Actually, it's quite the opposite; I've not been able to sleep for quite too long now..! Tired..? You betcha..! Excellent stuff from all again, of course, with wide interpretations on the twin subjects. Thanks to all who voted for my contribution, and thanks to all who voted for the others. Onward and upwards. ... ... Where's October(s picture then, eh..? Eh..? Where is it..?

[size=4][color="#222222"][font="Arial, sans-serif"]And the winner is... Mornats..! [sharedmedia=core:attachments:167486] Here, then, is your Winner's Certificate (download and save as pdf file, then proudly print and frame...) ...[/font][/color] [attachment=229018:BC_Comp_Cert_2016_09.pdf] [color="#222222"][font="Arial, sans-serif"]... which looks like this (but bigger, of course..!)... [/font][/color][/size]

I started (trying...) to learn the guitar , with the Mickey Baker book (look it up..?), then switched to playing the bass lines (still on the guitar...), listening to Jack Casady and Phil Lesh.until I bought a Vox bass. I then switched to drums. Cause & effect, maybe..? Maybe. I'd already 'taught' myself some music theory on the school piano, working out the intervals and keys, re-inventing the wheel. It served me well, though.

Not much socialising in our (large...) family, and scant interest in music generally, excepting Kathleen Ferrier (my Mum was Scottish, and liked the pathos...) and a South Pacific LP. No encouragement, but, to be fair, my Dad [i]did [/i]lend me the difference I needed to buy my first decent Camco kit (which I still play...).

[quote name='skankdelvar' timestamp='1475076216' post='3142857'] Interesting. That's the third version of Mo's book, first published as '17 Watts?'... [/quote] Exactly, it's '17 Watts..?' plus some more recent stuff, and a re-arranging of the content into a more 'fluid' read. A 'must-have' for every bookshelf.

[quote name='blue' timestamp='1475071259' post='3142793'] You may have picked up on the electric from other artists, however that artist may have picked up the guitar because of The Beatles. In other words that historical trail in most cases can be traced back to the Beatles. Blue [/quote] This is the part of the puzzle that I feel is missing... [url="https://www.amazon.com/British-Rock-Guitar-Mo-Foster/dp/0857160001/ref=sr_1_1?s=books&ie=UTF8&qid=1475074300&sr=1-1&keywords=mo+foster"]British Rock Guitar ...[/url] Highly recommended, it gives invaluable insight (from one, and not the least, who 'was there'...) into the history of the British music scene, from post-war (mostly...) up to recent times. The chain of influences is clearly visible, and the immense stock of anecdotes and insights of what was happening is a delight to read (and re-read...). There is, of course, mention of The Beatles in there, at their just measure, and more, far more. A treasure of a book. Worth a look, maybe, for those seriously interested in the history of music, straight from the source..?

[quote name='PaulWarning' timestamp='1475067331' post='3142755']... there was no mention of barre chords (as I recall)... [/quote] Pages 32-37 ...

[quote name='White Cloud' timestamp='1475008433' post='3142323']...(there is a semi interesting story behind this). [/quote] Oh, go on, then; pray, tell...

[quote name='IainS' timestamp='1474989884' post='3142102'] I'm no mathematician, but what is the chance (or is it probability) of us all being the same? [/quote] I'm no theologian; the same in whose eyes..?

[quote name='IainS' timestamp='1474987870' post='3142073'] I'm no mathematician but surely we can't all be average... [/quote] [pedantry] Well, mathematically, we can. If everyone was the same, any one would be average, as would any other one.[/pedantry] Not that it matters a jot, of course.

At my age..? "Where's the toilet..?"

[quote name='essexbasscat' timestamp='1474826103' post='3140846'] I've found that the size and shape of the neck does have an influence to my hand shape [/quote] It's a common problem.

The description fits almost exactly with our cottage, one part of which is our 'Music room' where we practise (2 guitars, bass, drums, singer, pop/rock covers, all-valve half-stacks, 2 x 300 PA monitors...). Stone walls, small windows, concrete floor, 'recording' loft above the beams and floorboard ceiling. I find that the equipment in there (cabs and other 'stuff', including an armchair...) allow the room to be 'live' without any inconvenient resonances. We have recorded stuff in there, and it's not bad at all. I'd recommend doing nothing at all for a month or two, and see how it feels after that. More important, maybe would be heating (in winter...) and adequate ventilation, to avoid condensation. Is the room used regularly, or left vacant for a week at a time..? That will determine the impact on any gear left there. Many studios have a 'stone' room to try to recreate just the ambience you're likely to get, and if you're not recording, you won't want a really 'dead' room, anyway. Do nothing expensive, at least, and forget about egg cartons. Did that decades ago to no effect whatever save placebo. Subject to correction, completion and/or contradiction from others; hope this helps.

[quote name='TimR' timestamp='1474488942' post='3138411'] That was a real life situation. If the band members all live miles away from each other it makes no sense for them all to be traipsing round the country in the middle of the night to carry mic stands up and down a driveway in the rain. [/quote] Quite.

[quote name='TimR' timestamp='1474485615' post='3138379'] Quite right... [/quote] Yes,as is often the case, although I think I detect just a tinge of sarcasm in your post. I would, however, encourage you, nevertheless, to continue these leaps of imagination. Some might well be actual, real-life situations, you never know. Thanks for your enlightening contribution, anyway.

[quote name='TimR' timestamp='1474484093' post='3138361'] Well. If everyone is worth the same hourly rate, the guy that's hauling the PA at 3am in the middle of winter while all his band 'mates' are asleep should receive something for his efforts. It's only fair. [/quote] Other logistics solutions are available.

[quote name='JTUK' timestamp='1474475159' post='3138293'] Quite, a vox P.A is owned by the singer. But if you have a P.A for the band...and everyone goes through it, that is a bigger outlay and a bigger load so that means the guy who does most of it needs to be paid or he will get fed-up. He might say he needs a bigger car, fuel costs etc etc It is a can of worms but I just think it is easler to thrash out a deal and pay it.... This only really works on gigs/bands that can justify carrying a bigger P.A and gigs that pay for it... and then you get into kitty's etc etc . [/quote] ^ Sometimes. Other models are available.

[quote name='Nicko' timestamp='1474457009' post='3138130'] I dont get why the PA should b chargeable. I provide my instruments, rig, pedals etc without charging extra. If I need a set of strings I dont expect the band to chip in. [/quote] Can of worms; we're back to this tired old dichotomy of 'folks who put a monetary value on things' and those who 'do things because they want to'. There are many ways of looking at all of this, so there is much divergence. In our band, for instance, I 'own' (in the sense of 'I bought'...) the PA stuff, and the whole band profit from it. That's just the way that I do things in general, so no surprise there. We play for nowt, anyway, so nothing to split. I bought our 'tour bus', too; it's been lent out numerous times to band members and others buddies for house moves, or furniture collection etc. I don't go in for looking for problems, rather offering solutions. Simple..? Yes, deliberately so.

[quote name='blue' timestamp='1474290903' post='3136846']... Or is pride another culture difference?... [/quote] Pride in one's [i]own [/i]personal feats, I can understand (and, on occasions, experience...). Pride in the achievements of [i]others [/i]I cannot understand, and have never felt. It seems odd, to me, as a characteristic. Maybe it's just me..?

[quote name='chris_b' timestamp='1473925213' post='3134099'] As I said in the other post, on his own or with help (doesn't matter) Ringo changed drumming... [/quote] In the Pop world, maybe, and far be it for me to denigrate Ringo, but here were many movements in the drumming world, evolving the role of the instrument and its techniques. Greats such as Joe Morello, Art Blakey, Jo Jones... The list is long. All was not '2 and 4', by any means, in other quarters. Leaving aside Buddy Rich's extreme offerings, Gene Krupa had a lot more going on than merely 'rhythm drums'. Big band was a huge vehicle for expression in percussion, and jazz trios needed more than just a back-fill to keep the music creative. All credit to Ringo for his achievements, but there were many others innovating at the time, ignorant of his impact, I'd say.

[quote name='Jakester' timestamp='1473799158' post='3133283'] Hmm, I think 25" scale might be still be a little too long at this stage - I have a Strat copy with a standard scale length of 25.5" and he struggles to fret the lower notes. [/quote] Try the same, but with a capo at the 3rd or 5th fret. They grow very fast, do kids. Don't get an instrument which will be too small in a year or so..!

[quote name='Jakester' timestamp='1473791164' post='3133187'] Thanks Rhys - should have said he specified he wants "a rock one" so that tends to rule out classical guitars. [/quote] They don't come very much more 'rock' than a [color=#282828][font=helvetica, arial, sans-serif] [/font][/color][color=#282828][font=helvetica, arial, sans-serif]Westfield Mini Precision, 25" scale... [/font][/color] [media]http://youtu.be/RkWdn2TSmfQ[/media] Wouldn't it be great if there was anyone trustworthy willing to part with one..?

Not many would disagree with all that, as it's pretty obvious really. Yes, a good drummer is a musician who can play, and listen, keeps good time and sounds good; no surprise there. I see that no-one has yet mentioned stick-twirling, though. Surely no drummer could aspire to the epithet 'good' if this critical skill is lacking..? Not just the old 'optical illusion' trick that fools no-one, but real 'tossing in the air and catching on the beat' stuff. The true hallmark, no..?