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paul_c2

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Everything posted by paul_c2

  1. Not long arrived home from an afternoon gig at Chester Bandstand. We were fortunate with the weather - several other weekend events/bands had cancelled so far this summer; and lightning is forecast for tomorrow (I received an email a few days ago asking if we were still doing it, I'd said 100% yes even if it rains, but risk of lightning we'd need to abandon/cancel). It was a brilliant gig, helped by us having 2 other gigs quite recently so all the music was well rehearsed and everyone was able to relax, enjoy it and played well. It was a tight squeeze but good fun. Load in/out is a complete nightmare - need to park on a roundabout - but I was able to borrow a disabled blue badge which helps. Only a few pics (and a sketch) so far.... Oh, and a video, but its on Facebook and I don't know how to post a link to it.
  2. I know it will go against the grain, but I read another interesting thread - I think it was on a guitar forum though - which observed that there's far more threads about gear itself - guitars, amps, effects, selling/buying etc than using that gear either gigging or technique or theory. That forum was probably more skewed than this one but its worth mentioning. I'm probably the exception - I really don't buy that much, or often - but as an estimate, I probably buy something every 3 months, but actually play at least every other day. So that's 50x the time spent. Of course, not every day playing is noteworthy......but hopefully you get the point.
  3. Only those who buy new. I only own ones bought secondhand at good prices (and not too expensive gear either).
  4. Good post. There comes a time when a band progresses from doing gigs "for exposure" to doing gigs for actual money. Of course, that point is debatable and the band itself or its members are likely to have different opinions than venue owners/etc! My concern would be where some bands are happy to play for nothing, when others of an equivalent standard wouldn't. It effectively devalues music. Of course, there's the harsh financial reality that a band might be good but simply not popular enough to bring in the required quality/quantity of punters to make it worthwhile or economic or sustainable to pay them. So the bar is reasonably high - but exists.
  5. You need to decide if its a job, a service you provide (which might be paid/unpaid or anywhere in between) or a hobby. If its perceived as a hobby, then getting paid (expenses) is pretty good - how many rambling associations pay the old biddies to walk in the countryside at the weekend, etc (or similar analogies). If its a job then there's min wage considerations, and you'd need to include travel to-from home. There could be an interesting debate about who is the "employer" - whoever is the bandleader? The pub/venue themselves? If its not an employment situation (and I don't think it is, if there's no contract or obligation to attend), then its a "service", which can be negotiable and has no min wage concern.
  6. We always pre-visit the venue to determine how much space there will be, then the rehearsal before the gig we will do a mock setting up in the given area. Then when everyone arrives at the gig, at various times, it is smooth. I am glad we did this - on a few occasions, its been 20-30 mins of messing around at the rehearsal rearranging things before everyone was on the same page.
  7. I have a MIJ Jazz and a Squier VM fretless, each is the backup to the other, despite being quite different in tone (but same shape and size, which makes playing accurately much easier irrespective of which one I'm using). Recently for some gigs I've gotten lazy and only taken one or the other, partly due to lack of space in the car if I need to give someone a lift and/or transport the PA too. But for a well-paid, high-profile gig I'd take both. Also I have a completely separate backup amp or some other means of quickly plugging into eg the PA. I've never had a bass fail in a gig situation but twice I've had an amp fail (just before, not during) and once I've had a lead fail at a rehearsal.
  8. I remember buying a brick at B&Q, the cashier gave me a receipt for 8p. I was thinking...."hmmm yeah if the brick goes faulty, I'll bring it back for a refund, thanks". I guess it could have been purchased in error, or needed for accounting reasons, or developed a crack or is the wrong specification etc.
  9. Personal registration plates have absolutely no utility value (arguably less than the brick) yet people pay much more than £350 for some of those....
  10. Why did they name a car after a cartoon dog?
  11. If you want to press on with the assertion the key is D, that's fine with me. I've listened to the music, I hear the key centre as A; and analysis of the notes played reveals further details which are interesting too.
  12. So we're in 100% agreement that C major is NOT the same key as A minor?
  13. They have the same key signature but they are not the same. Just as C major is not the same as A minor. For further info on this subtlety, Google "relative minor modulation".
  14. That's why I suggested A dorian or A mixolydian - both of those modes have an F# in them, instead of the F natural which would indicate A aeolian (ie minor) or some other mode of A.
  15. What do you mean, where the F# come from? There is an F# because that's that Tina plays in the bass (amongst other notes, including A (and B)). Without getting overly complicated/confusing, it could be interpreted as quartal harmony. But definitely, from listening to it, the key centre is A.
  16. 2 sharps doesn't necessarily mean a piece of music is in D. It could be in B minor....or A mixolydian. I don't know why they use 2 sharps - it feels more like minor rather than major and nowhere in the piece does a C or C# occur, so I think it would be better to notate/transcribe it with 1 sharp, ie A dorian. Its probably a bad example to try get your head around if you're not fluent in music theory including modes......but from the sound of it (not just the way its been notated), it definitely sounds like its in A.
  17. Can you read music? I can scan in the music.
  18. The Talking Heads song is in A minor, the guitar plays A7sus4 and the bass plays a riff with the notes F#, A and B. (Yes its quite an unusual harmony but the bass plays the root).
  19. Talking Heads - apologies for not clarifying earlier.
  20. This is my current fav version of Jungle Boogie:
  21. Now we're getting a bit surreal - Once in a Lifetime has a clear key centre, it is not ambiguous. And the bassline contains this note.
  22. I came across this: You don't need to watch it all (but its interesting for those who get it) BUT watch from 15:00 onwards, it presents a good argument about why its worth analysing music like this, instead of/as well as "feeling it". Basically, it reveals the techniques of good songwriters and is more efficient than a more random approach.
  23. Well yes....it would do. But what if you needed it for some of the mics? Phantom power is so named because its there if a mic needs it, but it should not affect other mics/equipment which doesn't.
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