tauzero

There is probably no response to that which would not attract the well-earned approbation of #metoo. That was not an easy sentence to compose after large quantities of Scotch.

Ah, got it now. I was indeed looking at the Forte. So, an extra 300W that I wouldn't use and three times as heavy and as bulky as my Puma 900 - not one for me, but we're all different. Mostly.

Dave Gilmour is flogging 120 guitars. For those of us with partners and a pluraility of basses, this is a chance to say "imagine how many he's still got if he's flogging 120". For all of us, it's a chance to say "HFM?" or "why are those estimates the same?". The latter question is what entered my head when I started reading https://www.guitarworld.com/news/david-gilmour-to-auction-more-than-120-guitars-through-christies - the first item in the article is his black 1969 Strat, used on numerous albums for 15 years, and Live 8, and certainly significant, estimate $100k-$150k). But the second item has the same estimate, and is not only the 1954 Strat used on "Another Brick in the Wall (Parts 2 & 3)" and on stage, it's also Strat #1. You'd think the first ever Strat would get some extra value from that fact. And "a rare Gretsch White Penguin" ("incredibly rare" according to Christies, and indeed there's only 12 on Ebay) gets the same valuation - surely not as rare as the first ever Strat. More from Christies at https://www.christies.com/features/David-Gilmour-legendary-Black-Strat-comes-to-auction-9637-3.aspx

My cat must think he has several names, including "Don't just lick the gravy off". Basses - the thing that makes it unique (so the Dean 10-string is referred to as "the 10-string" but the Warwick fretless is "the Warwick fretless"). Bikes - the model name, except that my Triumph Tiger 800XRx is called Tigger sometimes.

I remember what the other thing I was thinking of was - ask each of them which three songs would they suggest to add to the set list.

I think the Led Zeppelin negativity is aimed at Jimmy Page live (mine is, anyway), with a little bit at Bonham for 20 minute drum solos. See if you can stay awake all the way through the film "Song remains the same".

He's got a picture in his attic, you know.

Memories.

Looking at the Forte, isn't it basically a B|Amp without the bits that made the B|Amp unique, ie. another lightweight bass amp that doesn't manage to be as light or as small as its competitors? The WD800 looks rather more interesting, but not £1300 more interesting. The most interesting thing to me were the multieffects which appear to be heading into Helix territory at considerably sub-Helix prices, although the Mooer might not be at that low a price point. The Hotone will be interesting - so far superior to the Zoom B3n to be worth double the price, or so far inferior to the Helix not to be worth a third of it?

And to repeat what I said on that thread: How much headroom do you need? 18V supply is overkill for instrument-level effects - it's a signal that's about 150mV peak to peak. Imagine someone standing next to Nelson's Column. That's how much headroom 9V gives you. Now imagine driving a double decker bus filled with Ashdown effects into an Olympic sized swimming pool. That's what Keith Moon would have done.

Good man. By the time you get to my age, you'll probably have it sussed out 😁

<wanders into kitchen> 3.4kg. That's the AV, so subtract a few grams for the preamp.

Also Nellie the Elephant. The original, not the Toy Dolls version, otherwise they'll finish up with tachycardia.

How much headroom do you need? 18V supply is overkill for instrument-level effects - it's a signal that's about 150mV peak to peak. Imagine someone standing next to Nelson's Column. That's how much headroom 9V gives you. Now imagine driving a double decker bus filled with Ashdown effects into an Olympic sized swimming pool. That's what Keith Moon would have done.

In my old ceilidh band, I'd play NS WAV-4 (42" scale length), Warwick Thumb fretless, and Ashbory Mk I (18" scale length). I just took all three to gigs and played whichever one took my fancy at any one time, swapping between them as I pleased (there's plenty of time to swap instruments in a ceilidh band as the caller explains the next dance).

Both my Sei 5s are 3.5kg.

Well, it was a P. Any damage to the amps or the stage?

You never know when they might come in handy, when you don't want to play the chromatic stuff.

No, that's something it can't do. Don't know if anything could, can't see it being an easy thing to do.

For self-indulgent 20 minute guitar solos, look no further than Led Zep.

Audacity - easy to use to lop bits off or extract bits. Will import and export WAV and MP3, nothing to pay. In fact, there's no such thing as a paid version of Audacity, you'll be pleased to hear.

1977 - Sex Pistols "Never mind the bollocks", Meat Loaf "Bat out of Hell". I only bought one of those two albums.

I saw that when it was shown - basically, it said that music and lyrics were both becoming less complex. Because, after all, nothing Adele's written can touch the lyrical and musical complexity of James Brown's "Sex machine". Oh sorry, that's wrong, the examples given were equally facile in the opposite direction, which was a shame, because cherry-picking examples slightly undermined the premise. I don't disagree with that premise though. Rock wasn't in an unhealthy state before punk, but it did provide new musical DNA which was incorporated into the mainstream.

Still doing his NYE 2016 gig, I imagine.

That's actually another of your 60th birthday gifts, discovering that breakfast is a foreign country.