Skinnyman

Tricky. I think I'd have gone by now, The volume thing would be enough for me. This shouldn't be about just you and the guitarist. Have you talked to the drummer and Rhythm guitarist about this? If they're of the same mind as you, why don't you all walk? Assuming that they've got the same issue, you could all agree that you three will play the song as per the original structure (plus any variations that you've agreed in advance). Then - collectively - tell the guitarist that if he wants to deviate from this "in the moment", he needs to give you all a visual cue of some sort or you will all carry on following the agreed structure and he will sound like a complete idiot. Then implement and stick to this policy religiously until either he "gets it" or you all walk. Of course, if they don't see a problem then maybe you need to find a band with a better standard of musicians. There is a difference between being able to play an instrument and being able to make music in a band with other people and it seems that you're the only one seeing that distinction. Good luck with it PS Unless you're certain that the gig won't be a car crash, I'd be gone well before it

Charles Saatchi, I’d imagine. While I’m here, I saw the thread title and assumed it was a euphemism. Wrong again. Life is full of such minor disappointments. Oh well,

The machine in the bog in our local doesn’t need all that faffing about. Two quid, pull the lever thing and…… Sorry. As you were. These bloody glasses

First band I was in had a copper as drummer. He was in a Firearms Response Unit (or whatever they’re called) so spent most of his days driving around with the occasional emergency call out to some incident. He knew his schedule well in advance and we booked gigs around it. I’d guess that your drummer may struggle to fit in gigs and practice when she’s doing her initial training but once she’s past that, it should be workable - although having a deep on hand for those last-minute emergencies probably won’t hurt.

That looks really nice. A quick search suggests that the Montana Xmas Red Glitter could be just the fellow for me! Thanks for the suggestion

Just the info I needed, thanks. Given that I’m the least ept person I know, I think even I should be able to manage this. Famous last words….

I am planning to strip an old SGC Nanyo bass back to the wood and respray it. Is there any particular type of paint I should use? Or avoid? I’m after a metallic finish (Candy Apple Red) with a gold sparkle (I didn’t say this was going to be tasteful). Can I use automotive rattle cans? I assume I’ll need to use a primer coat? Again, any particular type? Ta

Not dead they’re not

Rick Wakeman tells the story of working with Chas Cronk on the Six Wives album. Forty-odd years later he worked with Chas again; RW: “Is that the same bass, Chas?” CC: “Yep. Same strings too”.

Forgive me if I conduct a little experiment here…. I always understood that the difference was that one turns a screw whereas a bolt remains static and the nut is turned. (Sits back and waits…) 😁

I think you’ll find they’re legu…… Nah. They’re nuts

Sold my Tama drum throne to Anth. DPD managed to screw up both the collection from me and the delivery to him with the result that it arrived two days later than planned. Anth was patience personified through the whole sorry saga. All in all, a lovely guy to deal with. Thanks again, Anth!

Looking gooood there, Stubz

Only if you’re dancing to it

Surely it doesn’t make any difference what tempo you (don’t) play it at - it’s 120 bars*. The only difference the tempo makes is that it will take you more or less time (not) to play it than the 4’33” of the title. *Or however many bars are in the piece.

The string spacing on that tab is a bit narrow for my fat fingers…

Not tab, just the score…. 😁

It’s one of those catchy little tunes that just get stuck in your head. An ear worm I think they’re called… 😁

I nailed 4’33” after just two listens.

5ths??? What are they?

I give it one go - if I get it, that’s fine, if not I just play the riff to Wishing Well with suitable timing* No-one ever notices. Well, no-one whose opinion I care about, anyway. *This is a joke. I don’t really do this. I play 7 Nation Army.

In fairness, even I managed to nail the verse on first listen. Took a bit longer for the chorus, but the verse? Easy

It can be done. Bill Bruford tells this story in his autobiography (paraphrased here on another site…) It's 1983, and Bruford and his King Crimson bandmate, bassist and Chapman Stick player Tony Levin had been hired by DiMeola to play on his latest album and had travelled to a residential studio in Nebraska for the session. They'd been told that DiMeola liked to start his sessions fairly late, so they arrived at the studio at midday as agreed in advance. No Al. They set up the drums and got ready to record. Still no Al. Bruford, who says that the grossest insult one musician can give another is to keep them waiting, is not amused. Nor is Levin. Four hours later than agreed, just as Levin is wondering aloud how it might affect his otherwise sterling reputation as a session player (seriously, look him up) if he were to just leave, DiMeola arrives and proceeds to small-talk with Bruford, Levin and the studio engineer while changing his guitar strings. Eventually, he starts to run through the songs he wants to record. Bruford sits at his kit, Levin sits silently in a corner, his bass still in its case. Bruford and DiMeola run through the songs, repeat a few tricky sections, discuss exactly what is needed. Eventually, they arrive at a fast run that Al wants the bass to play in unison with his guitar, so he urges Levin to, maybe actually get his bass out so he can play it once or twice before they record. Levin declines. When it's time to record a take, Levin gets his Stick out and plugs in, not playing a note. They play, Levin plays his part flawlessly, tricky run and all, then overdubs a perfect double-track. The process begins again for a second song. Again, Levin plays and double-tracks his part perfectly. It's getting late, and the agreed time for the session is over so Levin packs up his gear and heads for the door. Just then, the engineer somehow manages to erase a two-bar section of Levin's part. Suitably embarrassed, he begs Levin for five more minutes to re-record the missing part. Levin agrees, and again puts the part on tape flawlessly, packs up and makes for the door again. Oh crap, says the engineer, we're two notes short of what I erased. Tony, can you just... But he's out the door. Now Al DiMeola is going to have to pay his engineer to review the tape of the session (and it *is* tape- this is 1983 and Pro-Tools is distant sci-fi fantasy) to find duplicates of those two notes, copy those sections of tape and splice them in to the gap. Which is probably going to take like, four hours. Yeah.