tedmanzie

I've never owned an MS20 so I can't compare. This has a few extra features which weren't on the original - oscillator sync (very nice!), and also a button to switch between the original filter, and the later filter. It seems very expensive (£900 inc vat and you also get the SQ1 sequencer) considering they were selling the MS20 kit (with full size keys) for about £750. I got carried away when I saw a demo on youtube! .. I always wanted another analog mono synth since I sold my SH1 several years ago. Certainly sounds like a great monosynth to me. I've only brushed the surface of what it can do as I've never had a modular before so I don't know what all the patch leads can be made to do yet. I'll work my way through the manual soon... You're right though - looks very cool!

Price drop! - FREE want to shift it on asap, collection only.

Sorry, It's collection only, are you able to come and get it? Please PM me to organise.

Stand is made by QuikLok, can be taken apart - the arms are clamped to the main upright section, so can be removed or moved up/Down. The main section folds flat, and is probably about 1.5m long. Not sure on weight - a guess would be 10-12 kilos.

[quote name='BigRedX' timestamp='1424210491' post='2693958'] There were tied sockets like that on the MS50 expander module (but without the mini-jack). Is the SQ1 Oct/volt or Herz/Volt for the CV control? [/quote] you can select various voltages using the front panel, specs say this : 1V, 2V, 5V (Oct) 8V (Hz/V)

[quote name='BigRedX' timestamp='1424194213' post='2693704'] What are the extra row of sockets below the external input module for? [/quote] they are 3 groups of 1 x mini jack & 3x1/4 inch jack signal splitters/duplicators: send a cv signal from the SQ-1 sequencer (which is included) into the mini jack socket then send that signal out of the 1/4 inch jacks to where you want it to go. i think you can also put a 1/4 inch jack into one of the sockets and send that signal out from the other two sockets. haven't tried it yet so not 100% sure.

That's what I thought, but now I've built it I think it's actually a bigger box than it would need if it was shipped as a finished unit. I guess a professional korg employee could put one of these together in an hour or two, and then the units could be tested and approved before shipping, so it seems like more of a 'concept' than a cost thing?

Just bought this beast. Just finished putting it together - don't know why it's a kit only, but it was quite fun, although a few nuts weren't the best fit. Not even turned it on yet...

This is now FREE Collection only, Kingston, Surrey. All working but used. PM me for details. Thanks Ted

Where in Kent?

don't buy new headphones! to work in a mono socket you just need the correct adapter, eg this http://www.kenable.co.uk/product_info.php?products_id=3950

Stewart Lee (again) in the Guardian today. The more I find out about this the more annoyed I get. So I am having an annoyed Sunday morning http://www.theguardian.com/commentisfree/2015/feb/08/secondary-ticketing-legal-but-not-morally-right-sajid-javid

I just received this group email from Stewart Lee (comedian), makes interesting reading on this subject: [indent=1]Dear All [/indent] [indent=1]TICKET TOUTS - RUN TO THE HILLS [/indent] [indent=1]As you may have noticed Stub Hub, Viagogo and E-bay have been touting tickets for the current Room With A Stew Tour at up to £99, a nearly 400% mark-up on seats, many of which are in publicly subsidised venues, the utter bastards. [/indent] [indent=1]I have contacted Stub Hub and Viagogo about this, they have of course pointed out it is all technically legal, and will not be drawn into discussion about the difference between law and ethics. [/indent] [indent=1]If you go into Stub Hub's office on Great Portland St you can try and eat as many free sweets off the desk as possible while you argue with the bloke there, even though it's not his fault and he just has to use words like 'platform' over and over again to avoid commenting on anything.[/indent] [indent=1]The culture secretary Sajid Javid has said the only people that oppose touting are 'chattering middle classes and champagne socialists'. He also wants the arts to be more 'accessible' to justify subsidy. He has not replied to any of my e-mails, and nor has the shadow culture secretary. [/indent] [indent=1]I oppose touting because I want my shows to be accessible to all, so that everyone can come and hate them as equals, and I cut corners to keep tickets as cheap as venues will allow me to make them (don't play ATG theatres, no ad campaign, Premier Inns etc etc.) I don't see why this is 'champagne socialism', and if it is, I am all for it. Also, let's face it, I don't write £99 shows. That said, I don't think they will shift these mark-ups to my audience anyway.[/indent] [indent=1]Iron Maiden, who have a giant robot of a monster on their side, are now taking on this issue, God bless them, and I urge you to support them and fill in the forms below. Also, drink their Trooper beer. It is ace. I will not pretend to be a Maiden fan but who cannot like Run To The Hills and 666?[/indent] [indent=1]Incidentally, I am adding more dates to some of the sold out shows so there should be no need to buy over the odds tickets from these twats. There won't be another date at Kingston but for god's sake just go into London this Autumn at Leics Sq Theatre rather than pay £99 for the back row of the Rose Theatre on an evasive website.[/indent] [indent=1]Please spread this around and end this nonsense.[/indent] [indent=1]Artists shouldn't have to have their tickets sold at higher rates than they want them to be sold at. It is wrong. The Free Market, in this case, can f*** off. [/indent] [indent=1]MESSAGE ENDS[/indent] [indent=1]S[/indent] [indent=1]Iron Maiden's message, please click here to read it:[/indent] [indent=1]http://us9.campaign-archive1.com/?u=4ed22b50518a2d4aaa7dcb375&id=eeb04217b9&e=df2ab12090[/indent]

Please PM me (message me) and I'll give you contact details for the band leader

[quote name='keyedit' timestamp='1422473187' post='2673181'] I'm potentially interested in this band. Is it possible to get to hear some of their covers, or a set list, before we take it any further? Thanks [/quote] Hi, I don't know anything about the band other than is in the info at the top, but if you PM me your email I'll put you in touch with the chap who runs the band and I'm sure he can tell you everything you need to know. Cheers, Ted

[i][This is not my project but please [b]PM[/b] me and I'll put you in touch with the guy I know running the band, cheers Ted][/i] [b]Established covers/originals band looking for new bass player - Kingston/Surrey[/b] 60's Soul through to current day alternative rock. Current line up is vocals, keys, drums, guitar. Rehearsals take place just off the A3 near Painshill/Woking. Gigs will eventually be at least one a week. Pub gigs pay £50 and will be in the Surrey area. Corporate and function work anything from £250 a night and could potentially be all over the place. We’ve had a major setback in that our old bass player got our singer pregnant so everything has had to be put on hold /cancelled. We have a booking agent wanting to fill the band's diary with the better paid work. We have some work to do in order to get this over the line as we have a new singer in place and need to nail down the set. Record it and do a video – we have all of the resources lined up for this but obviously need our bass player in place too. We also have an original project using the same singer which is interesting. Gordon Mills jr (Ed Sheeran, Newton Faulkner), Carey Willets from Athlete and Ian Dench (Beyonce) have been involved in writing the material https://soundcloud.com/adamstarkmusic/heaven

[quote name='mickster' timestamp='1421680723' post='2663876'] All good advice above IMO. I used to work for a large independent label & distributor in the 90's, obviously before the advent of digital sales via Bandcamp etc. I think the independent distributor route works when you're producing and selling quantities above a certain threshold...a distro can get stock into shops & outlets that you can't reach yourself, and they will chase payments on your behalf and deal with postage & packaging. We used to charge anything from 8-25% of the wholesale price for doing this (wholesale price in those days was around £7.00 for a CD that would retail at £11-12). Obviously, teh bigger the label / act, the lower the distro fee you can negotiate. But as others have said, dealing with a distro does itself add a degree of complexity - contracts, payment terms, keeping an eye on stock levels & arranging for new stock to be pressed / delivered etc. For small quanities (ie <500 units), you're probably better off doing it yourself. You may well struggle to get stock into even independent stores like Rough Trade, Sister Ray, Piccadilly etc, and yes, getting paid by these shops can be a headache; I'd just focus on direct physical sales via yr label website & Bandcamp. You have to deal with postage & packaging yourself, but you will get more per unit and all payment is upfront. Put the effort into publicising the acts on yr label & stimulating direct sales rather than on getting a few vanity units into 'cool' shops like Rough Trade. [/quote] Very interesting thanks.

[quote name='thebassist' timestamp='1421681125' post='2663881'] I dealt with shops/distributors in 2010. If I recall, they weren't selling digital then. But I really can't remember in all honesty so I can't help there I'm afraid. Contact them mate - I'd start with Phil at Norman. Top, top bloke. A treasure to deal with. Very supportive. Great shop. My only other bit of advice for you (and please choose to ignore any of the advice I've given too) would be to only release music that you're proud of promoting. I only release music I love which, at the start, wasn't necesarily good commerically but I'm super glad I did it that way. Now all the physical releases on my label are sold out within a few days of being put up for sale. Generally, to people that buy everything released on the label. [/quote] Good stuff. I used to know quite a few of the guys that ran the London record shops at the end of the 90s (Atlas, Smallfish, Rough Trade, I forget the names now most of them are now gone), and I did do quite a lot of trecking around with my first 7" release doing the old sale or return thing! (think I made about £1.50). So I'm happy to do a similar thing again to make some personal contacts. I'm definitely only releasing stuff I love, I often make commercial music for TV so I need an outlet for music that doesn't having anyone offering emailed suggestions on its merits! Well done with your releases. I found some on Bandcamp - interesting stuff! (I think you need to update the links on the minuspilots website, they aren't directing to the right bandcamp page?)

[quote name='fretmeister' timestamp='1421680344' post='2663868'] Start reading [url="http://www.amazon.co.uk/Music-Business-revised-including-Copyright/dp/0753555700/ref=sr_1_1?ie=UTF8&qid=1421680196&sr=8-1&keywords=Music+law"]http://www.amazon.co...words=Music+law[/url] [url="http://www.amazon.co.uk/Need-Know-About-Music-Business/dp/0670918865/ref=pd_sim_b_5?ie=UTF8&refRID=1MTNPWTN7W70J6WHFEDP"]http://www.amazon.co...WTN7W70J6WHFEDP[/url] Both authors are leading lawyers in Entertainment & Media. [/quote] Good idea, thanks

[quote name='thebassist' timestamp='1421679663' post='2663863'] I run a vinyl only/digital label myself - the digital side of things, as has been said already, is easy enough to do. Get a Bandcamp, iTunes, Amazon account, etc. Physical distribution is a much trickier proposition in my opinion. I started out distributing directly to stores, some of the ones mentioned, but because I was a new label, they would generally only deal with me on a sale or return basis which was a pain in the arse but to be expected quite frankly. A few of the shops never paid up and the ones that did pay were generally a nightmare when coughing up the cash. Barring one store, I ALWAYS had to chase five or six times before they got tired I guess and finally paid. Frustrated by this, I then approached and did a deal with a known distributor. Another major pain in the arse awaited. When everything was said and done and I'd paid for shipping, they'd taken their 25%, etc., etc. it really wasn't worth my while. Plus, the distributor was like the shops. I always had to send constant chaser emails and call them to pay up what they owed me. It really sucked the fun out of it. Now all the vinyl released via my label is sold via the web site, the Bandcamp page, etc. Overall I much prefer it this way and don't intend to ever work with shops/distributors again. You're dealing with the end consumer yourself and minimise the amount of outsiders you have to deal with which is a lot easier in my opinion. Like you, the label isn't my main source of income thankfully - it's a hobby and I'd much prefer to spend my spare time dealing with artists, customers, design, playing bass than chasing shops for money they owe me. Artist payment structure - I don't deal with contracts at all. It's all done with a handshake, a virtual handshake too generally seeing as the artists can be anywhere around the world. The artist receives 10% of the physical stock and then get 50% of all digital sales - they're also 100% free to release their music via their website, Bandcamp, etc. themselves whereby I get nothing at all. I'm not sure how many other small labels operate this way but I've found this to be a good approach. In fact, I've never needed to tweak this method. [/quote] Very interesting, thanks. Out of interest did you also supply the shops with digital files to sell? I have no idea how that works as yet. Do you think it could be a reasonable idea to build some profile for the label by basically giving the retailers (small ones mentioned above) some vinyl copies of the first few releases to sell, knowing that even though the vinyl will sell quite quick (hopefully) the 'digital stock' will stay available on their system indefinitely? So as a label you hopefully get a good review of the physical release which looks good, but the sales come from digital. As you know I'm not in it for the money, but I would like to build a good profile for the label, assuming I have music that I am proud to promote.