tauzero

[quote name='Dad3353' timestamp='1437407561' post='2825732'] Let's take the case of a sculptor, who spends a certain amount of time, firstly learning his (implied: 'or her'...) craft, then in producing sculptures. If they're for sale, he'll have to fix a price; I'd suggest costing up the time spent and dividing that up amongst the pieces created. If someone buys his work, that's fine. If his client is an interior designer, the pieces may be sold on to individuals, or offices; even museums. It matters little; as long as the artist has had his work recompensed, all is well. If asked (commissioned...) to create a piece, he'll estimate the cost on a similar basis. Once delivered, he's paid; again, all is well. Can this not hold true of a composer..? He'll sell the piece to someone wanting his work, for the cost of having produced it. If it's then sold on to others, that doesn't prevent the songster from creating further works, or accepting commissions, which should equally generate payment. [/quote] You seem to be overlooking the elephant in the room. The sculpture is a unique object of which ownership can be transferred, and once the new owner has it, the previous owner is deprived of it. A musical work can have its rights transferred, but can be readily copied, either the idea or the recorded sound. How many Mona Lisas are there? And how many "Mona Lisa" by Nat King Cole are there?

[quote name='Dad3353' timestamp='1437402604' post='2825673'] ... and I hold that music has no intrinsic worth, it's the production of music that needs paying for. A loaf of bread costs the labour and raw materials involved in its manufacture. Carrots cost what it takes to get thel to grow, and thence to market. The value of these is the effort that's gone into them, not the item itself. One pays a waiter a salary for serving in a restaurant. If he's at home, resting, he's not providing that service, and so doesn't get paid. An actor in the theatre play gets his/her salary, and rightly, too. A musician, playing music, deserves pay, also. I have no problem with folks getting paid for their work. I advocate limiting revenue to that, that's all. [/quote] What happens to record labels then? Record label puts money into production of a record, then how do they recoup the money? They provide the masters to whoever will burn the CDs for them, sort out whoever will do the artwork, and provide the record to Spotify et al. That's it then, isn't it? They're not doing anything further, so they don't get any more money. Presumably the money flow now moves to the CD factory, where they'll churn out as many CDs as they want to and when they don't sell any more, they stop, and to Spotify, who keep supplying the music stream until no-one wants it any more. So where will the risk move to? Who will decide the value of the record? Do all records have the same value? You perhaps need to consider composition and production of material as an IP version of capitalism, insofar as one invests one's efforts in the production of something in the hope of future reward.

[quote name='Raymondo' timestamp='1437562377' post='2827012'] I am assuming that this is a wind up....in the nicest possible way ColinB....As I had to play these virtually every night of the week when I was earning a living in Tenerife. I hated them both but they did make the tourists happy! [/quote] Context is all. Build me up, Buttercup and Sweet Caroline are songs that have taken up residence in social clubs, not in many pub band sets. Don't think I'd want to do Buttercup in a pub but Sweet Caroline would be worth a shot.

[quote name='KevB' timestamp='1436886562' post='2821726'] I remember seeing Jimmy Lea just mingling with all the other regulars in the bar at a gig in Wolverhampton in the 90's, I think I was a bit too starstruck to approach him but it sounds like he'd have been alright with it. I couldn't stop myself thanking Roy Wood for all the great music through the years when he sometimes used to pop down to Rock City in Nottingham for the Sat night rock nights. I didn't take up much of his time and he was very down to earth and rather humble. [/quote] Roy Wood used to push Mrs Zero in her pram, when they both lived in Brum. He probably wouldn't recognise her now.

Keep the boxes, you might be able to post a couple of 1x12s in them

It's easy to find where I took my username from. And there's no pictures of me or pictures I've taken anywhere in the first several hundred.

Thinking about it, I'd want to be in a band with Mrs Zero, so there's a few - Fleetwood Mike, Silvery, or perhaps Mrs Zero and the Machine.

I'm booked in to Birmingham, along with Mrs Zero. Anyone else going?

[quote name='Woodinblack' timestamp='1437498106' post='2826597'] I have never heard a band doing boys of summer. Superstition though, I don't think I have heard a band that doesn't do it.. including mine! [/quote] Previous drummer's current band does it, and I want to do it (not because they do it though). Have never played Superstition in any band.

[quote name='ubit' timestamp='1437552322' post='2826909'] I take it you own a dog [/quote] A good point. Just get a water pistol and squirt him with water every time he indulges in unacceptable behaviour. If this fails, escalate to bleach, and if you still get the same problems, petrol, and apply a lighted match.

[quote name='CHW' timestamp='1437558171' post='2826965'] Re Mustang Sally Alongside my band stuff I also play for my local tennis club. At our NYE do I was asked to bring along a guitar and mic and do a quick spot. After doing an old blues song and a Johnny Cash number I got asked for Mustang Sally. Instantly I had a dance floor full of people, and 3 of the female members doing their best Commitmentettes "Roid, Sally Roid" BV behind me. People just like it [/quote] Of the last four bands (three rock covers, one social club): Sex on fire - all four bands Sweet Home Alabama - all three rock covers Dakota - all three rock covers Mustang Sally - one rock covers, social club All Right Now - one rock covers (the current one, and I'm not that fond of the song) So perhaps Mustang Sally isn't as overplayed as it's made out to be.

[quote name='Bilbo' timestamp='1437492462' post='2826502'] And, tauzero, re: dancing to 7:4; there are more ways to enjoy a gig than dancing and I suspect (although I have no evidence for this) that, overall, more people DON'T dance at gigs than do. There are also other varables. Having done many wedding/party gigs with the same band, I am often amazed at the way in which the same songs/set can get everyone dancing at one gig and hardly anyone dancing at the next. [/quote] I think you should go back and re-read what I wrote. I said that it was entertaining watching people attempting to linedance to 7/4. How you read anything further into that is beyond my comprehension. I quite agree with you (well, somebody has to) that more people don't dance than do.

[quote name='Muzz' timestamp='1437488414' post='2826445'] How packed is your dance floor to the 'not in 3:4 or 4:4' stuff? I think I'd pay money to see that... [/quote] The sight of a bunch of women attempting to linedance to the 7/4 section of "Music" by John Miles is thoroughly entertaining.

I have suggested that we ration our generic covers to a maximum of 50% of the set - hopefully it will drop more. And I actually enjoy playing some of the songs which seem universally hated (Mustang Sally, Wishing Well, Sweet Home Alabama frinstance), and as I no longer have to play Red Red f***ing Whine I'm happy.

We do the theme to Friends - I'll be there for you, Rembrandts. Other band used to do Feeler - Feeling a moment, and Razorlight - America.

[quote name='lefrash' timestamp='1437393500' post='2825538'] Now I think about it the ampeg PF350 was returned and replaced under warranty due to the intermittent cutting out (which is a well known fault of this model) so perhaps I should discount that one. But yeah, 3 amps for the same thing to happen is still alot. Ashdown and the LH500 were fixed pretty cheaply and the markbass is on its way back to (hopefully) be fixed under warranty, [/quote] Were the Ashdown and LH500 repaired by the same tech? Did you get some detail on what the faults were to see if there was anything in common? Discounting the power supply, as they're switching on, it could still be input jack, preamp, send/return loop (eg. return jack), power amp, or the subsection of the power supply that feeds the preamp, so there's plenty of stages. If it was always the power amp, that might indicate some common factor, otherwise it's just coincidence and being in the wrong place on the bathtub curve.

[quote name='alexclaber' timestamp='1437383934' post='2825390'] We definitely have to knock a load of these ideas up in photoshop - I can't help but think of your suggestion as being like a Big Twin 2 but with a megaphone bolted to each side and a big toggle switch labelled "drummer toasting direction" on top! [/quote] What about something like this but with a swivelling top part that can be aimed at a drummer? Something like this:

Status do DBE strings in round, flat, half-round, and nylon-coated. Plus there's someone who sells adaptors, lengths of brass bar with holes with grub screws in which hold the strings at the headpiece end. Just search on That Ebay for "Steinberger String Adapter".

[quote name='Dad3353' timestamp='1437383523' post='2825386'] That's not quite what I was referring to in the (admittedly weak...) analogy. The basic point is that, if and while work is being done, then the work should be paid, no quibbles. Once it's done, though, it's done, and shouldn't generate revenue simply for the fact of being 'wanted'. I was comparing the listening to a song to someone coming to look at (not own, nor take away; just to look at...) a painting I'd acquired. The original artist is not paid 'per look', and doesn't get to know whether his work generates a lot of lookers or not. His work is finished, and has been paid for. An actor in a film has been paid for his role, whether the film is a success or a flop. On the other hand, every time anyone strikes up 'Happy Birthday', the owners of the rights to that song are due some money. I don't see why, as no further work has been done once it's been composed. Paying for it once, on a [i]pro rata[/i] for the time taken to compose it, seems fair enough to me. Having a milk cow just because it's popular is what I take to be wrong. It's not a question of ownership; simply having one's time paid for, but only once. I am all for musicians (indeed, all folks working...) being paid for their diligence and talent, but not to the point of becoming mega rich once the work is finished. How to achieve this could be debated, but the basic principle of having cash roll in whilst doing nothing more rankles with me. [/quote] But then you take away the link between supply and demand which establishes value in other areas of commerce. Your model means that everything of the same type would either have to have the same price or would have to have a price established at the point of sale with no movement allowed.

[quote name='Dad3353' timestamp='1436385310' post='2817808'] I know it's controversial here, but that's my point of view ... [/quote] Dad, you say that we wouldn't pay multiple times for a painting, but that's not comparing like with like. If you use that analogy, what you're buying is a photocopy of the painting, and artists can sell as many photocopies of paintings as they like. It's the difference between depriving someone else of ownership in order to have it yourself and, er, not depriving someone else of ownership in order to own it yourself.

The bit at the end of page 2 (basically saying that class D amps are uterly wet and a weed) is very confusingly written.

[quote name='bluejay' timestamp='1436516011' post='2818694'] Warwick are being a bit slow offering a design improvement here, arent' they. [/quote] I wanted to find out about this very thing about a month ago, and went exploring on the Warwick forum. Apparently Warwick did update the tailpiece, increasing the slot width by .5mm, and you can buy the new version at the Warwick shop for about 20EU + P&P (or 35EU if it's gold - bah). I'm in two minds as to whether to get a new one or file the old one (rather faded gold finish). See [url="http://forum.warwick.de/showthread.php/13077-130-B-string-in-a-Warwick-bridge"]http://forum.warwick.de/showthread.php/13077-130-B-string-in-a-Warwick-bridge [/url]and [url="http://shop.warwick.de/?&c=35352310036&lang=en&smk=1&modul=shop&site=shop_overview_2&filter=new&nm=D0405358001321517424A43801|Warwick|D0975238001321517429A45943"]http://shop.warwick.de/?&c=35352310036&lang=en&smk=1&modul=shop&site=shop_overview_2&filter=new&nm=D0405358001321517424A43801|Warwick|D0975238001321517429A45943[/url]

[quote name='Ghost_Bass' timestamp='1437061686' post='2823304'] How's the height from each string to the fretboard, near the headstock? Could this have been made on purpose to even out the height of each string? [/quote] It's got a zero fret so that shouldn't affect it. I'd be inclined to remove the endpiece and see if the screw holes were in the right places (which would also make it easier to see if there's a twist). Might be the screws being put in on the wonk.

[quote name='AndyTravis' timestamp='1437148325' post='2824052'] Had a kingbass, and after 12 months I decided the headless thing wasn't really for me...but I still fancy a jack [/quote] What Sir wants is a Hohner B Bass, which is a Jack with a head on. Personally, I think headless is great.