Kirky

Battery in the bass? Does the battery affect the passive mode too?

Might try and make 9th, am in London that night, though staying nowhere near there. What's the closest tube station?

The great [url="http://en.wikipedia.org/wiki/Snooks_Eaglin"]Snooks Eaglin [/url]reckoned he knew 2500 songs. Could cause problems for his band members though, even one of the greatest bass players in the world... http://www.youtube.com/watch?v=kGBKy5iMRBw Watch this clip, you'll love it.

What venue, and when?

Excellent letter, he is the epitome of cool. I saw him support Sonic Youth many years ago in some poorly named band who were good despite their name.

[quote name='SpaceChick' timestamp='1380278979' post='2223128'] Why couldn't it be just a week later? On the 9th i'm staying in a hotel in London within spitting distance of Denmark street!! [/quote] Me too. I usually go to the [url="http://www.alleycatbar.co.uk/"]Alley Cat Club [/url]on Denmark Street if I'm down on a Wednesday because they have an excellent jam night there. Or [url="http://www.google.co.uk/url?sa=t&rct=j&q=&esrc=s&source=web&cd=1&cad=rja&ved=0CC4QFjAA&url=http%3A%2F%2Fwww.aintnothinbut.co.uk%2F&ei=d5BGUviHDMnT7AaVg4CYBg&usg=AFQjCNE6q7h7yY9jYHETzCPGvJLWxYKdtw&bvm=bv.53217764,d.Yms"]Ain't Nothing But the Blues[/url] on Kingly Street usually has 2 bands a night and is a friendly place. Good luck with the gig, LEB

Bump in case anyone in Harrogate fancies some Barefaced action tonight...

My blues/soul/rock combo, Motor City Blue are playing at the Harlow Hill Club this Saturday 28th September, from 9pm. The club is on College Street, off the Otley Road. First time at this venue for us - come along if you're in the area. Cheers, Martin.

A cheaper / short-term option is a pedal, like one of DHA's - for example [url="http://www.davehallamps.co.uk/page26.html"]this[/url]. I find that you have to take care to set it up right, but it can fatten and warm up the sound very well. Let me know if you're interested in borrowing mine to try (I don't use it much at the moment, although I've got no desire to get rid, and can get it to Sheffield easily enough for you to try out). Martin

I had a 700RB 115 combo and it was awesome. Now I play a MB Fusion (Lozz's old one) thru Barefaced cabs and love it. I also have a MB200 for rehearsals/backup which sounds great too, but not loud enough for most gigs (at least through 1 Compact, I've not tried it through both). I love the GK sounds and whilst there are differences between the three (too subtle for me to be able to explain) they all sound great and have plenty of punch and plenty of eq control. The MB range wins for me because of the portability. If you're anywhere near North Yorkshire you're welcome to come and try them.

I reckon the Carnegie Hall in Dunfermline is well within your capabilities, Bilbo.

I had exactly that happen to my violin many years ago just before a concert.

I contacted them and got the following info: " We're based in Hull - If you go to : [url="http://www.youtube.com/steelyardblues"]www.youtube.com/steelyardblues[/url] Have a listen and view the videos, there's quite a variety of material here - so it's worth looking at them all as videos are often tailored to particular venues. The band are primarily blues rock but we also play Classic rock, some prog rock, rock n roll and also some original work. We play mainly in mainland Europe and a few times in the UK. So if you like the material and like to travel, reply to our email address ([email="[email protected]"][email protected][/email]) and we will arrange a audition ,send you a few mp3s to learn and supply you with more info. We're looking for somebody who is available to tour in October (1st tour is 9th - 21st). As far as time commitment goes, we normally do around 6 tours per year in Europe of around 10-12 days each. This varies of course & may be occasionally slightly shorter or longer. We also play some gigs and festivals in the UK in between but they are normally on weekends so shouldn't really interfere with work. You'll have lots of experiences, travel a fair bit & make some money (though you won't earn a fortune as stated in the ad). All touring expenses will also be covered (ferries, transport/diesel, hotels, 2 meals per day & at most foreign venues, free beer). PLEASE REPLY QUICKLY IF YOU'RE INTERESTED & WANT TO AUDITION." I decided it wasn't for me. But I hope the above is useful.

I love everything abut my Compacts. Having said that, I've got the silver cloth versions - I don't like the look of the metal grille ones quite so much.

My little blues/soul combo are playing a 40 minute slot at the Grove Festival tomorrow night at about 10:15pm (that's Saturday, 10th August). The Grove pub is in Holbeck in Leeds, tucked in behind Bridgewater Place. Come and say hello if you're about. Here's a link with some more details: http://www.thegroveinn.com/highlights.html

Cool, I want the band to have a go at 'Who Did You Think I Was' and was dreading working out the bass part. On holiday at the moment, so no bass available, but will be having a go at this as soon as I get home. Thanks.

A most enjoyable evening of music. The band were excellent - Keith's bass was very tasteful and his son is a quality guitarist. Nice to meet you Keith, and I look forward to the next gig.

Good point ras52.

[quote name='iconic' timestamp='1375262210' post='2158887'] [i]"To work out whether the piece of music you're looking at is major or minor, you need to look for clues - the main clue is looking for the accidental that represents the raised 7th in the minor key associated with the key signature - for example if the key signature has two sharps (F#, C#) it will be in either D major or B minor. If there are lots of A# accidentals, its likely to be in B minor. Other clues are the chords (or notes) used to start and end the piece."[/i] ......this bit here (well above ), would it be fair to say that if the key was the relative minor, there would have a disportionate of 3rd's in the tune too....as it's the 3rd that identifies if it's minor or major key? just a thought? again many thanks for all have taken time and effort out to help me clarify things.... [/quote] Well, say we're in D major or B minor. The third in D major is F#, which is also the 5th in B minor. F# is probably going to appear a lot in both keys, so its not something I would use to differentiate. Or the 3rd in B minor (D) is also the tonic in D Major...not going to be very useful. The raised 7th accidental is your best clue.

The method I used is based on simple recurring patterns. For sharps (and major keys): C major has no sharps or flats. The fifth note in the scale is G... G major has one sharp - the new sharp is the 7th note in the scale (F#). The fifth note in the scale is D... D major has 2 sharps - the new sharp is the 7th note in the scale (C#). The fifth note in the scale is A... A major has 3 sharps - the new sharp is the 7th note in the scale (G#). The fifth note in the scale is A...etc etc So when you look at a key signature with sharps, to find the key just look at the last sharp in the key signature (which will always be the 7th note in the scale) and go up a semitone - hence the key signature with the last sharp as A# is B major. For flats and major keys: C major has no sharps or flats. The fourth note in the scale is F... F major has one flat - the new flat is the 4th note in the scale (Bb). The fourth note in the scale is Bb... Bb major has two flats - the new flat is the 4th note in the scale (Eb). The fourth note in the scale is Eb... Eb major has three flat - the new flat is the 4th note in the scale (Ab). The fourth note in the scale is Ab... etc etc So to work out the key for a key signature with flats, look at the last flat and go down a 4th. Not quite as straightforward as sharps but still pretty easy. For minor keys, the same pattern works but start on a different note: Sharps (minor keys): A minor has no sharps or flats. The fifth note in the scale is E - E minor has one sharp, which is the second note in the scale (F#). The fifth note in E minor scale is B - B minor has 2 sharps, the new sharp being the second note in the scale (C#). etc etc Flats (minor keys): A minor has no sharps or flats. The fourth note in the scale is D - D minor has one flat, which is the 6th note in the scale (Bb). The fourth note in the D minor scale is G - G minor has two flats, the new flat being the 6th note in the scale (Eb), etc etc You can also just go down a minor third from the major key, but that isn't always so easy to see (on a keyboard, at least). To work out whether the piece of music you're looking at is major or minor, you need to look for clues - the main clue is looking for the accidental that represents the raised 7th in the minor key associated with the key signature - for example if the key signature has two sharps (F#, C#) it will be in either D major or B minor. If there are lots of A# accidentals, its likely to be in B minor. Other clues are the chords (or notes) used to start and end the piece. I find that once you've got your head around the patterns/rules above, dealing with keys is easy. The hardest part of sight reading (I find with my piano pupils) is in reading rhythm/timing, especially dotted notes. Hope that's useful.

Ok as The Regency is about 1 minutes walk from my house, I really can't not turn up to this one - I'll be there!

Can't make it, but its a great venue - I was there for a jam night on a Wednesday night a few weeks ago and every performer that got up was fantastic. Enjoy your gig.

Simon Cowell doesn't get his own way?? Sounds like you've got a great couple of guitarists to work with, and the fact that they bring different qualities just enhances the experience. Sometimes a change is refreshing, but that doesn't mean that the first guy isn't still fun to play with. I'm in a similar position with drummers in my blues band - totally different styles but both a joy to make music with.

I play with Motor City Blue - website in my sig. Blues/soul/rock covers.