EliasMooseblaster

If anything, I'm amazed the rest of the band stuck around! Were many people there for the open mic?

[quote name='EssentialTension' timestamp='1465485136' post='3068665'] Except Buddy Rich was a child star, Traps the Drum Wonder, on stage from age 18 months and was among the richest child stars of his time. [/quote] [quote name='peteb' timestamp='1465485167' post='3068666'] I think that the videos are particularly pertinent given that Rich himself first came to fame as a child prodigy drummer 'Traps the boy wonder'...! [/quote] Good point; I hadn't been aware of BR's childhood fame!

[quote name='blue' timestamp='1465483660' post='3068644'] Personally, I'm not impressed with any of these YouTube clips featuring young children playing instruments. Can the child read charts, manage and direct a band, travel and play 280 gigs a year? Buddy was a pioneer. Blue [/quote] But surely the point of those videos is that the child is exhibiting prodigious talent and/or skill on their instrument for somebody of [i]x [/i]years - not to make direct comparisons between them and Buddy Rich...?

[quote name='Happy Jack' timestamp='1465464975' post='3068413'] Oi! I told you - check out Felix Pappalardi! [/quote] I did - your comparison is very flattering indeed!

[quote name='Cosmo Valdemar' timestamp='1465474976' post='3068550'] So we became The Originals, and we had to change our name as there was another group in the east end called The Originals and we had to rename ourselves The New Originals. Then The Originals changed their name back to The Regulars and we thought well, we could go back to The Originals but what's the point? [/quote] You could always have your lead singer adopt a stage name, allowing you to become Werther and the Originals...

Just to say, if people would like to continue this discussion, I'm really enjoying all these old clips of The Who...

[quote name='lowdown' timestamp='1465391808' post='3067776'] Dave Panichi talking about the tapes (towards the bottom of the article). A good read. [url="http://jazztimes.com/articles/20010-the-buddy-rich-tapes"]http://jazztimes.com...uddy-rich-tapes[/url] [/quote] I think Panichi nails the possible cultural difference to which Blue alluded earlier when he says "[color=#333333]My own feeling was he couldn’t get away with that s**t with an Australian band. Somebody would’ve popped him."[/color] [color=#333333]Similarly I can imagine a British group would either send such a bandleader to Coventry, or smack him in the mouth, depending on their average temperament.[/color]

I kept myself to two basses for so many years - probably close to ten years, in fact. Then a couple of years ago, I somehow ended up with four - granted, one was disassembled for a refurb, and one was still being built, but it wasn't long until they they were four fully-functioning four-strings. A couple of years, and chance encounters down the line, and then there were seven. I often feel like perhaps I should try and move one or two of them on...but there are none I actually want rid of!

[quote name='Painy' timestamp='1464886365' post='3063565'] Am I the only one that initialy misread the thread title as straight plugs or anal plugs? [/quote] To be fair, the OP's pic doesn't help with that!

[quote name='Happy Jack' timestamp='1464944116' post='3063924'] The BarFM website is deeply sh*t, Ralph! Not surprised you didn't bother to link to it. Can you confirm this gig isn't Members Only (or something equally daft)? [/quote] Pretty horrendous, isn't it? I've just had a chinwag with the organisers and apparently the "members only" guff is for their club nights. Mere mortals such as ourselves are welcome this evening.

Just a quick bump as it's now less than 24 hours away!

[quote name='Happy Jack' timestamp='1464872107' post='3063333'] $7k's worth of fun? I don't think so ... [/quote] I am trying to imagine what fun I could have with $7,000, but coming to the slightly tragic conclusion that I'd probably run out of ideas after the first thousand or so...

All she wanted to do was have some fun...

[quote name='Jus Lukin' timestamp='1464801568' post='3062733'] Good point, I wonder whether the slab bodies were used for the Tele basses, whereas left over contoured bodies were re-purposed as standard P-basses. Not that it moves the thread on much, but here is a snap of mine. Neither being the 'real deal', interestingly both have contours. I think of the SCPB as more of a nod to the mid-50's version anyway. Regardless, who doesn't like pics of basses?! [attachment=220475:IMG_20160601_1759481.jpg] [/quote] I'm intrigued by the wiring on the left-hand one - presumably the knobs are Vol / PU select or blend / Tone? Gorgeous specimens, both!

Arguably the other factor is how important a given member is to the original lineup. We're playing a festival this summer at which the headliners are Dr Feelgood. Trouble is, this will be Dr Feelgood without Lee Brilleaux or Wilko - with no disrespect to Sparko and John Martin, would it still really feel like "Dr Feelgood" without its distinctive frontman and guitarist? (It's a moot point in any case, as I gather none of the current members were in the original lineup!) My own personal favourites (The Who) are a particularly good case study in which changing any one band member completely changes the sound and dynamic of the band - the two studio albums following Moon's demise demonstrated this amply, and even after the Ox sadly left us, it's clear their live sound is not the same (despite Pino's sterling efforts). On the other hand, "Hawkwind" is now just Dave Brock plus some younger guys. Some people don't feel like it's really Hawkwind any more; some other people insist that Dave Brock [i]is [/i]Hawkwind. Anyone else noticed how Malcolm Young's once bemoaned departure from AC/DC has been completely overshadowed by the replacement of Brian Johnson with Axl Rose? In short...I think it's a case-by-case thing!

I'm asking for a friend, so I apologise if the question is a little vague. As I gather, she's looking for a keyboard that will be suitable for use with singing lessons, but also light and sturdy enough to schlep to the odd gig. She asked me what I thought of a couple of Yamahas: PSR E353: http://www.very.co.uk/yamaha-psre353-portable-keyboard/1600078859.prd and NP12: http://www.very.co.uk/yamaha-np12-piaggero-home-keyboard-black/1600078854.prd Both of them looked pretty good for the price, as far as I could see. The PSR E353 looks like great fun to tinker with, but after hearing a demo of what I assumed was the NP12's basic piano sound, I reckoned the latter, with a simpler interface, was the better bet. Anyone got any experience with either model or similar? Anybody care to back up or refute my ill-informed first opinions? More importantly, anybody know if there's an all-round better keyboard my friend could have for the same price? (And yes, I do realise I'm asking a forum of bassists, but I can't be 'arrised creating an account on KeyboardWaffle.co.uk) Ta in advance, EMB

Howdy, Cherry White are heading to West London to raise merry hell in Shepherds Bush: come and get your fix of dark, blues-tempered rock at Bar FM, with support from international melodic alt-pop four-piece Alex and the Tourists. Admission £5; no advance tickets or anything, just turn up on the night! Stage Times: 9pm - 9:45 Cherry White 8pm - 8:45 Alex and the Tourists [attachment=219850:BarFMPoster1.jpg]

Do excuse me if I've asked this before, but has anybody tried converting one of these to a baritone guitar? Only, doing a bit of spec comparison with Squier's VM Baritone Jazzmaster (which also seems to be quite well-regarded), it seems they have the scale length, but the Bass VI has more tonal variety, is slightly cheaper, and the trem would probably be of more use on a baritone guitar than a bass. Not that I'd rule out buying one to use as a bass; I just have an intermittent but nagging curiosity about baritone guitars.

Nice! Will you be taking orders? We might also seriously consider a short run of vinyl for our last EP... Edit: thank you for answering my question seconds before I could ask it!

[quote name='ubit' timestamp='1463634060' post='3052918'] Surely it depends on your socket. I have a couple of basses with a Strat type socket where angled just wouldn't do... [/quote] I thought this originally, but then after further pontification, I've realised that even on the basses I own with a side-mounted socket, I will typically loop the cable up through the back of my guitar strap, so even then the angled plug reduces the strain on the joint. The exception is my 8-string, on which the socket is recessed into the body, and not all angled jacks can reach in far enough to make a reliable connection. Or, of course, on a Strat-style socket, where an angled plug would just look silly...but now I'm curious: which basses employ this Strat-style socket? I don't remember ever seeing one - now that I think about it, I don't think I've seen them on anything but a small subset of Fender guitars.

Thinking entirely hypothetically - and a little facetiously - if one had the kind of bi-amped setup in the style of later-years-Entwistle/Sheehan, like a few people have suggested above, you could run the effect out into the high-frequency amp and the dry signal out to the low. Stereo output sorted for one pedal. But given you've got several of these...well, one almost wonders whether it's worth setting up a series of switchable intersections, such that you could decide whether the dry signal from your Big Muff goes out to the Stereo Chorus, from which the wet signal goes into a Stereo Delay, from which the dry goes into a Stereo Flanger, which all ends up going to the high-frequency side - for example. Consider the different permutations of wet and dry signals into two different sides of your twin-amp rig, consider the sheer breadth of sonic possibilities, and then consider how you're going to have to learn the footwork to [i]Riverdance[/i] to be able to switch sounds mid-song...

If it's a front-mounted jack (as specified in the OP) then I've always thought the right-angled jack is a better choice mechanically as, in most situations, the cable will be under less strain at the joint where it meets the jack, thus reducing the risk of broken connections. As it happens, I do have a genuine [b]third option[/b] in my own setup. Years ago, after some confusion with a lot of black guitar cables of similar length, I ended up taking the wrong one home with me, and I now have one with two slightly kinked jacks. The sleeve is on straight (i.e., parallel with the cable), but the tips are angled a few degrees off-axis, as if they were designed specifically for the slanted output jack on a Strat. Has anyone else come across these before...or is it possible that the guy I inadvertently swapped with had bent the jacks deliberately to better fit his guitar?

[quote name='Beer of the Bass' timestamp='1463225800' post='3049706'] One thing that occurred to me is that it's harder to drive and park in cities than it would have been 40 years ago - there are more vehicles on the road and parking is heavily regulated. Also, relatively few people have lock-up type spaces to store their gear. If I could always park a van outside the venue and had a ground-floor space that all the bands gear was stored in, I wouldn't think twice about using stuff that was large and heavy if it did a better job. Keeping my gear in my flat and having to contend with city-centre parking, lighter gear makes a lot more sense for most gigs. [/quote] I think this has a lot to do with it - schlepping a 1x15 combo to gigs on the London transport network, with a bass slung over one shoulder, was a semi-regular experience from my early 20s that I'll be glad not to repeat! Also it seems increasingly commonplace for venues to try and control as much as possible through FOH. Whether this is for better or worse is a very multidimensional debate, but it does render the old-school giant-head-and-stacked-4x12s a bit redundant if it's just going to be a glorified stage monitor that the sound engineer won't let you crank any higher than '1.'

Thank you! Our guitarist is running as many signals as possible into a FocusRite mixer...can't remember exactly, but I think that's a kick mic and a few overheads around the kit. Then a mic on the singer and guitar cab, and a DI from my bass head (so post-preamp). (I've been trying to persuade him to buy some slightly "flatter" headphones for the mixing; whilst I'm impressed with what he's managed to do, I think his Apple earphones are boosting the bass frequencies slightly, which is why the kick and - at least in my opinion - the bass are a bit underpowered in the mix.)

Hollywood star covers songs by cult Australian band: Nic Cage and the Bad Acting