chriswareham

[quote name='Roger2611' timestamp='1449919381' post='2927935'] Stuart Morrow, New Model Army to name but a few [/quote] He was superb on the first two NMA albums. I'll add: Peter Hook of Joy Division David J of Bauhaus Martin "Youth" Glover of Killing Joke Barry from Southern Death Cult Dave Allen and Sara Lee of Gang Of Four Dave Roberts of Sex Gang Children

[quote name='MacDaddy' timestamp='1449782356' post='2926872'] IIRC in an interview with BGM he said no distortion just cranked mids. [/quote] Lemmy's settings are pretty much full gain, full mid, no bass or treble. The result is overdriven, so I guess it's down to the difference between overdrive and distortion.

[quote name='RhysP' timestamp='1449532082' post='2924502'] Mellotron tapes are a hell of a lot longer than a few centimetres. [/quote] Yeah, I was being a bit facetious, but the time it takes the tapes to reset means that sometimes a subsequent press of the same key will restart a note playing with an annoying click.

Loved the bit about how they recorded the "choral" sounds on "Not In Love" (the only song I knew by them before watching the show). Three weeks of recording tape loops for each note, and then playing the mixer like a keyboard. Of course, now it would be trivial to do on a sampler, but incredible imagination to come up with that in the pre-sampler era since even a Mellotron wouldn't be able to do it (no long sustained notes due to the tapes only being a few centimetres long).

Someone has mentioned Primary by The Cure, but it's worth checking out the album Faith which that track was from. Most of the songs are either Fender Precision and Fender VI, or the Precision and some minimal keyboards. The title track in particular features the Fender VI as lead.

[quote name='The-Ox' timestamp='1449019974' post='2920205'] Thanks again! My main concern is whether I'll be able to get the range of tone that a real rick gets. Will it in essence be able to produce the same sounds? [/quote] The pickup placement is the same as a real Rick, so it should sound very similar - I have a Greco (Matsumoku built) copy of a similar age and it has the sound. If it has a capacitor on the treble pickup you'll get what's called the "vintage" tone that pre-1984 Ricks had. On modern 4003 Rick basses you can switch this capacitor in our out to get either the modern or vintage tone. I'd guess that being a 1970s Rick copy the Shaftesbury would have this capacitor. [quote name='The-Ox' timestamp='1449019974' post='2920205'] Also what does the single truss rod mean compared to the dual truss rod? [/quote] In theory, the twin truss rods of a real Rick (and some copies) would allow you to correct a twist in the neck. In practice they just make it more difficult for normal neck relief adjustments.

Bass -> Compressor -> Distortion -> Chorus -> Amp Although I do roughly half of my band's gigs without the pedals if I'm not in the mood to lug the fairly hefty pedalboard case along.

Went to buy some strings from my local music shop (Soundgarden in High Barnet), and had a quick browse around first. They had quite possibly the most ugly "faker" I've ever seen. It's the Stagg BG400, which is clearly supposed to be a Gibson EB0 copy, but with the single pickup up near the bridge rather than the neck. Pictures don't do it justice, as it's a slab with none of the "pointy" edges that make the Gibson look quite elegant - the picture below gives a false impression that it's tapered off quite a lot at the sides of the body. The body and headstock are also much wider than they appears in pictures, which make it look like a something someone knocked up in school woodwork class!

Jack's instrument services did a scratchplate and truss rod cover in b-w-b three ply for one of my instruments. Very pleased with the results.

Just remembered a gig that I'd pushed to the back of my memory. Type O Negative at the London Astoria roughly 2005. The mighty Peter Steele was in a bad way, having succumbed to drug abuse and his inner demons. I read later that he'd been pressured into the tour because the cancellation fees would have been financially disastrous, and that he'd collapsed after the Birmingham show the night before. They came on very late, having had the Birdy Song on a loop for roughly an hour. He had to sit on the drum riser, and barely sang or played bass. About a year later I saw him on the one off Carnivore tour upstairs at the O2 Academy in Islington. He was out of shape but back in fine form. Then came the shock a couple of years later when he passed away at 48.

[quote name='Roland Rock' timestamp='1448065859' post='2912925'] Funny to think he was in Thin Lizzy [/quote] Watched a Thin Lizzy documentary once, and even Midge Ure was wondering how he got that gig. He had to learn approximations of the guitar lines on the plane to the US tour.

Ultravox a few years back at the Roundhouse. Half the set was later Midge Ure penned stuff, with his terrible guitar playing up high in the mix. Turns out he only agreed to the gig if he could play his songs and the sound woman who does his acoustic shows could mix. Walked out about halfway through.

I think it's worth drawing a distinction between the Juno 106 and the rest of the series.I had an Alpha Juno II and MKS-50. They were the later models with very "smooth" sounding filters and really like the more up market JX-8P, JX-10 and MKS-80 but with very limited interfaces. On the early Juno models, the chorus was a must for thickening up pad sounds, although not essential for bass or lead sounds where unison was fine for f you needed a "fatter" sound. As to bands using the Juno or others because that was all they had access to, plenty of people would disagree. The FM and other digital synthesis were sods to program, and sounded very thin. People like Depeche Mode, Vince Clarke, Nick Rhodes and many others either went back to their analogue synth or moved onto samplers like the Emulator II (with its analogue filters).

[quote name='BigRedX' timestamp='1447878644' post='2911231'] Well having played all of them and owned a JP-6 I can't think of any sound that a JU or JX series synth might make that I couldn't have done with any of the JP series synths (except for the JP-4 which was a completely different synth to the other JPs). At the time (early 80s) I doubt anyone would have bought any JU or JX series instrument if they could have afforded a JP-8 or JP-6. Certainly none of the people I knew who had a JU or JX would have hesitated for a moment if they could have swapped their synth for a Jupiter. [/quote] The Juno 106, JX-3P and JP8 have very different oscillators and filters. The JP8 filter can't be pushed into self-oscillation for example, but that machine has a much more sophisticated voice architecture. I hope to get one of the boutique versions, but I'm undecided between the Juno and Jupiter (I do have a Jupiter 4 though, and it does seem to have a filter that's closer to the one in the JP-8 than the ones in the Juno 106 or JX-3P). My JP4, piccie courtesy of the wonderful Hammond Hire who fitted MIDI to it:

Nice! Now that Roland founder Ikutaro Kakehashi has retired, they're really starting to exploit their past. I admire Kakehashi's determination to always look to the future, but some of Roland's golden oldies really did deserve to be available again in one form or another. The original machines are loved for good reason, but they're unaffordable to all but a few nowadays.

All online orders are shipped from Germany, as they pay less tax that way. The original owner also sold up his interest, and it's now a wholly German owned operation from what I've read. DV247 tried to put everyone else in the UK out of business by undercutting them, but hadn't reckoned with Thomann doing the same but with more resources and from a part of the EU where the taxis lower.

DV247 ship everything from Germany. The last incarnation of the company went into a voluntary liquidation on a Sunday night and re-emerged as a new company the next day. The first the staff knew about it was when they arrived at work Monday morning to find the stores stripped of stock and the doors padlocked (apart from the Romford store). The stock was already on its way to a warehouse in Germany, and the company left loads of unpaid suppliers. Caused quite a scandal in the music equipment business world about two years ago.

"You're mates with Adrian? At The Gates we're my world when I was a teenager..." I met him through friends of his wife. They are both lovely people, and Adrian is hands down the best drummer I've ever heard. Even when he's playing straightforward stuff, such as in his wife's band Nemhain, there's still something special about the dynamics and timing.

As for music I love but have to separate from the twats that made it, top of the list would be Cream. Everyone probably knows how unpleasant Ginger Baker can be, but I was genuinely disappointed to find out that Jack Bruce deserved some of Ginger's ire for being quite horrible himself a lot of the time.

Can't stand Cradle of Filth, even though a friend was their drummer for ages (Adrian from At The Gates, The Haunted and now in Paradise Lost). Danni Filth is an utter bellend, having seen him acting like an arse at an after show party for an awards thing. That said, I did once rest my drink on his head to detract from his "do you know who I am" chatting up technique when he turned up at the Slimelight once - I'm 6'4" and he's so short that he makes an ideal place to prop up a pint glass.

I played a one off tour in a Cure tribute band. On the second night a guy in the audience was shouting "Simon, Simon" at me and clearly crying as I played the ending of A Forest. A bit weird. I found it quite limiting playing exactly like someone else and recreating the studio recordings of a band who sound quite different when they play the songs live, so I'll stick to playing originals.

You can normally find these on EBay being sold for £200 or less. Not sure about the playability - later Jolanas were the best of the "behind the Iron Curtain" guitars and very well made, but their earlycbass efforts I'm not so sure about.

That is one Bozo I'd like to make an acquaintance of. The body reminds me of a Gibson Ripper, which is a shape I've always liked.

They're not EB-0s, but EB-3s. The EB-0 only has the neck pickup.

Does one need an 8x10 Barefaced cab? No. Does one want an 8x10 Barefaced cab? Ooh yes.