BigRedX

In Japan, where Karaoke originated, you're not even supposed to do it in public in front of random strangers. And it's certainly not for their entertainment.

Of course in the days of recording to analogue tape, the final mixes would often be sped up (or very occasionally slowed down) to achieve a better feel when the record was cut without any regard for what it would do to the pitch.

If I was ever to find myself in a band that was popular enough for people to want to cover my songs, I would be seriously contemplating making an album where every song used a different non-A=440 tuning reference. In my first band we had two reed organs neither of which were at A=440, as a result our recording were tuned to three different references - whichever reed organ we were using or a set of pitch pipes if we weren't using either. Since I got my first electronic tuner in 1983, everything I have done has been to A=440, although one of the cassette recorders that we used to make copies of our demos in the 80s ran slightly slow so anyone listening to them on a machine that ran at the correct speed would be hearing the recordings at the wrong pitch.

The Mu:zines project is a worthwhile endeavour, and if you have issues of International Musician that are missing from their archive and digitisation schedule it would be worth lending them your copies in order for them to be added to the archive. My understanding is that they have already negotiated all the copyright issues, so if all they require is a link and an attribution that would be a small price to pay in order to be legally covered for usage in you blog. There is also a massive difference between quoting a few sentences from a source with an acknowledgement and reproducing an article wholesale, so decide what you want to use and act accordingly. I do page layout and graphic design for a number of small publications and there is an amazingly cavalier attitude to photo usage in particular, in that some of the contributors to these publications think that because they have seen something on a web site it can be used without any compensation (either literal or financial) in their articles. After one of these publications came unstuck spectacularly for using photographs without permission (luckily in an issue from before I started working for them, so I'm not involved) I now include a clause in my artwork sign-off that states that the publishers/editors of the publication in question certify that they own the copyright, have permission, or a licence from the copyright holder to use all the text and images being reproduced. Photographs are a particular problem because the copyright often remains with the photographer, so even if you have permission to reproduce the text from the author you may need a separate permission/licence for the accompanying photographs. Remember that anything on-line is much easier to find that an obscure printed book/magazine and some photo copyright services have automated procedures for scanning through web pages and even hosted PDFs to track down photographs being used without the correct permission. I'm just coming to the end of a vast project producing a 400+ book detailing various exploits during WWII that has reproduced numerous written sources and photographs. In most cases getting permission to quote text from other books was easy, the author of this book contacted the author of the book(s) he wanted to quote, and they were happy for either a written acknowledgement in the book and the possibility of using any new information that had been uncovered in a subsequent edition of their book with a reciprocal acknowledgement. For the photographs it was a lot harder and much more expensive. Apart form photographs taken by people in the book and which have been supplied by their relatives, everything else has had to be licensed from the various copyright holders who all need to know various details such as proposed printing quantities, image reproduction size, and distribution reach. I've just finished negotiating with the IWM for the last batch of photos we want to use which, even with a hefty discount, have cost several thousand pounds in licence and scanning fees. Tread with care and make sure you have exhausted all possibilities for getting permission first.

But why use the Shergold name if you're not going to re-issue the original guitars, or at least follow on from them with more modern versions using a slightly updated styling?

Our version of this song has made the Emerson Lake & Palmer YouTube Channel's top 9 favourite cover versions

Or you buy an Eastwood Hooky. It says something when Eastwood, notorious parts bin guitar makers, are building a more accurate version of a classic Shergold instrument than the company that now owns the name.

DiMarzio pickup? Or a look-alike copy?

Vision Video on Monday night at The Bodega in Nottingham. A Absolutely brilliant, and a lot more overtly political than I was expecting, which given the current state of the world is not a bad thing. They did storming covers of "Just Like Heaven" and "Transmission" which were still possibly the weakest songs in the set, which just proves how good their own material is. Go and listen to "Dead Gods" now.

Thanks. It doesn't look as thought it would be suitable for my need because AFAICS in keyboard mode it only supports single key presses, and I need to be able to use keys with modifiers (Control + keystroke etc.) to trigger macros without conflicting with the single keystroke commands in Logic. Also I'm not sure how my macro commands would work over MIDI since they act at OS level rather than within the DAW. Pity because otherwise it appears to be rather good VfM.

Does it simulate key presses as well as MIDI commands? Can you provide a link to the manual? The descriptions on the various sites selling them are annoyingly vague and there appears to be even less information on the "manufacture's" web site. TBH I'm not keen on Bluetooth for use at gigs and would far prefer a hard-wired solution, but so far the AirTurn has been surprisingly reliable and it's small footprint means that it fits in more places on cramped stages than the Elgato pedal.

Well after the initial faff of setting up the AirTurn pedal, it has proved completely reliable over the last month of gigs and rehearsals. Of course having said that it will fail miserably at the next important gig!

If this is about the Squier Bass VI then IMO not at all. Baritone guitars are usually tuned B-B for 28" scale and A-A for 3" scale instruments. The Fender and Squier Bass VIs come fitted with strings designed to be tuned E-E one octave down from standard guitar tuning. That, to me, makes it a bass. The other thing is pickup placement and voicing. I've not tied stringing my Squier Bass VI with an A-A set, but given that the pickups work very well for bass guitar type tones, I'm doubtful that it would sound as good for guitar-type tones. The real test for me as to whether something is a bass VI or a baritone guitar is can you play full first position chords on the instrument with the supplied strings and get a clear but down-tuned guitar sound out of it? No problem at all for any of the 28" scale B-B baritone guitars I've owned/tried. A complete waste of time on the Squier with the supplied strings, or any other E-E set I've tried on there.

Yes

This has come up before. Unfortunately the removal of the original JB pickups make this less desirable.

On the couple of occasions when I have played a fanned fret bass I found I had adapted to the frets within 5 minutes of picking it up.

The first piece of music I ever performed at a "concert" in front of an audience was in 1976, aged 15, and was one of three self-composed, semi-improvised instrumentals with me on either piano or guitar (depending on which piece we played first and which I really can't remember now). Myself and two of my class-mates in the ensemble used to attend a junior folk guitar evening class and the teacher put on an evening of music played by members of all the various music classes she taught. Most of the rest of the programme was earnest teenagers playing "folk" songs or classical music and we were very much at odds with the overall theme of the concert. I think our performance was met with polite applause and bemused expressions from the audience members. My first live performance playing bass was also my first proper gig at a proper gig venue, at the Ad-Lib Club in Nottingham in 1981. IIRC the opening number was another self-composed instrumental called "Modern Atoms #2" which was heavily fuzzed bass with feedback guitar, toy-trumpet, drum machine and bongos.

As I said in the other thread, I once took my Atlansia Solitaire 1-string fretless bass along to a rehearsal for my Dad Rock covers band where it was perfectly usable for about half the songs we played and the fact that it was fretless was more of a hinderance than the fact it only had one string.

My last gig of 2024 is with In Isolation, and will also be In Isolation's farewell performance as singer Ryan is calling it a day. It will be at the Salutation, in Nottingham on Saturday 14th December. Doors are at 7.00pm and we'll be on shortly after that as we will be playing an extra-long set and it's Spellbound Goth Night at 9.00pm afterwards. Tickets are just £4.00 and if you'd like to come and see our final gig it is highly recommended that you get one as they are selling fast.

You should know enough to know that it only theory and not the law. Depends Not since 1978

Amp & Cabs Vs Modeller and FRFR?

And it would be equally valid to say that a lot of people who try a 5-string bass and then go back to playing 4-string basses do so because they haven't spent enough time PRACTICING with the 5-string bass.

There's any number of threads in the Theory and Technique sub forum about practicing, but AFAICS you haven't contributed to any of the recent ones, and yet you are happy to post on this one which means your statement is pretty much worthless. Practice doesn't attract that much discussion because either you need to do it, in which case you just need to get on and do it, or you can come up with an alternative thing to play that doesn't require you to any practice. Simple.

Warwick Reverso or his yellow Auerswald.

It is now in a separate action.