chriswareham

This thread made me think of the excellent Jon Spencer Blues Explosion. And the Frank Spencer Blues Explosion.

There has been research into this - the confidence that some people have in their "gut feeling", and how right or wrong that conviction is. Turns out that people's preconceived notions about something they don't actually understand are almost always wrong. Drastically wrong. Seems to be bloody obvious to me, but as you say, Trump's gut feeling, sorry, I meant to say gut feelings trump actual knowledge and facts these days.

Biggest problem with Bax (and Thomann) is that they usually send electronics with "deathdaptors", those wobbly converters from EU two pin plugs to British three pin ones. I kind of expected it with Thomann, but got fooled by Bax having a .co.uk website address. At least I already knew to not order from DV247 (the former Digital Village and now known as Music Store), who did a "flat pack" restructure a few years ago, with many suppliers left out of pocket and the company basically moved to Germany. I was actually working in an office above their Barnet branch when they restructured overnight, and came in to work one Monday to find their confused staff standing outside a locked and empty store.

Well, woman actually: https://www.youtube.com/watch?v=Yx_Sqq6jooI

The Korg one seems to work very well on bass, better than the Snark ones I've used before (they would also break quite quickly - the little tabs that hold the display to the stalk are very fragile). The "no clip on tuners while we're playing" thing is an aesthetic choice - we're heavily influenced by new wave and post punk music, so we make an effort to look like those bands did. So our equipment is either old 70s and early 80s stuff or indistinguishable from it.

Very few purchases this year, but best is an HH V-S Bassamp, an old solid state amp head from the late 1970s. Desperately needed a lightweight head for a gig where cabs were provided and transport was a problem. The only thing available locally, and my only memory of them was from teenage years when reharsal studios were full of knackered HH kit that had been absolutely thrashed. This one had been serviced with new power transistors and even the backlit display works perfectly. Tried it at a rehearsal and was amazed - it's very loud, very clean and even the "Valve Sound" proved useful on a song where I play double stops and root-fifth power chordy things high up the neck. Switching the V-S on made me sound remarkably like Lemmy! Worst purchase was several Korg clip on tuners. Actually great bits of kit, but the singer insists we remove them during shows. So I've now mislaid two of them after checking my tuning and then leaving them on the top of house amps, from where they've probably fallen down the back thanks to the vibration.

I can confirm that Strings and Things in the UK are super helpful. I bought a second hand Ray 34 last year, and it was only after I got it home that I noticed the "treble side" machine head was bent. Strings and Things sent a replacement free of charge after I made an enquiry about spare parts. If you have no joy with the Belgian distributor, perhaps one of us Basschatters in the UK could try getting the parts for you and sending them on. Worth noting that most it not all parts on the US made Stingrays are not compatible with the Indonesian made Rays.

Good joke. You are joking aren't you? Actually it seems like you're not. Well f*ck me. Microsoft are utterly incapable of making secure software. They've made a rod for their own back by having to be backwards compatible with the horrendous APIs they've put out since the 1980s. APIs that are absolutely so full of holes that they simply can't be fixed without breaking the legacy software that are the sole reason they still exist.

Ah, Manic Street Preachers. The band that have been releasing the same one f*cking song their entire f*cking career. I remember when the NME and Melody Maker journos first started claiming they were the next big thing, and saying they were the "new Clash". If the band member who used to mime on guitar hadn't disappeared, making said journos guilty about starting their "we built them up, we'll knock them down" ego w*nk, than they'd have been consigned to history a long time ago.

We've had people known for other endeavours than bass playing, but how about bass players that use fretless bass in unexpected settings? I recently discovered that James McGearty, bass player of seminal death rock band Christian Death, used a fretless bass. Not something I'd expect in that genre... There again, he might have taken a cue from David J of Bauhaus, who also prefers a fretless bass: And Stuart Morrow of New Model Army was also a fan of fretless basses, having defretted a cheap Precision copy of some sort:

Wow, just checked out a few of their other songs and they're brilliant. Kind of what Royal Blood could be if they actually tried to be original rather than just recycling tired hard rock cliches. Which brings me back on topic, as I loathe anything by Royal Blood, since everyone assumes that as a bass player I must like their neanderthal plodding.

Got confused and thought this thread was going to be about a terrible "Oi!" band. Turns out I was thinking of C(o)ck Sparrer.

"Yellow" by Coldplay. It's a terrible song to begin with, but my wife is a piano teacher and several of her students are learning it for grade exams. Even played as an instrumental version it's utterly irritating. Anything by George Ezra. Before the virus I worked in an office where I had to endure the musical tastes of the boss, which extended to the fag ends of Britpop like Oasis and contemporary "singer songwriters". Ezra's "Budapest" with that grating "ooh" brought me close to quitting at one point. My plan was to initially try and get signed off work for as long as possible with mental health issues by running around the office with nothing on below the waist, while urinating and shouting "it won't stop". Thankfully the whole office complained that we should take turns at putting music on. My turn started with the entirety of Einstürzende Neubauten's "Kollaps" album:

And playing with a pick as god Lemmy intended.

I think it was still open as a pub up to the fire. There was a covers band called something like "Metalworks" who played there every Sunday evening. Unfortunately the fire was an opportunity for more gentrification of the area - Camden council don't seem to have a clue when it comes to what makes the area special, which is the non-chain store shops and the market.

The Hawley Arms burned down in 2008 along with a bunch of other nearby buildings - not sure how similar the rebuilt place is to the one that Amy Winehouse hung out in. I've not been near The Good Mixer since the late 1990s, but glad to hear it's got a decent crowd in it now as the regulars back then had a very seedy vibe to them.

She would most often be in the Hawley Arms, Camden. Which reminds me of another Camden pub, The Good Mixer. For a large part of the 1990s it was a popular haunt for bands from the NME and Melody Maker invented genres such as the "scene that celebrated itself", "new wave of new wave" and "Britpop". A lot of the bands that finally made it big with Britpop, such as Blur and Elastica, were part of that mileu. On the occasions I was dragged there by mates I could never understand the appeal of the place, since it was a grotty dive with toilets most often ankle deep in overflow from the urinal. Then I discovered it was where a lot of people from those bands could easily score smack. Why the police never raided it I don't know, but I spotted a fair few people there from bands that were feted by the music press.

Never had a problem with Dell equipment, either servers or laptops. However, Vista was a complete fustercluck by MicroSoft. They released the minimum and recommended specs for the upcoming release of Vista, but the specs turned out to be completely inadequate to run it in a reasonably productive manner. There were lawsuits over that, as well as the claim that any machine made since 2005 would run it well.

What I value about the local music shop (Kingfisher Music, Fleet, Hants) of my youth is that the World Wide Web killed them off. No more having to put up with the smug, sneering staff who would belittle me every time I went there to buy something. Regardless of whether it was picks, strings or an actual big ticket item like a bass cabinet they'd always find some way to have a dig, such as: "Oh, you play with a pick, so you're not a real bass player then". "I wondered who was still using crap like Rotosound strings". "Well it's not much of a bass cabinet, doesn't even have a Speakon connector". That last one about a behemoth Peavey 1820 cabinet I had special ordered from the US, which I then "accidentally" dropped on the twerp of a shop assistant's foot.

Careful, if you say that three times while looking at your computer something bad happens.

It's Spungen's Fifth Law of the Internet - any forum discussion that goes on long enough will eventually descend into a flame war about the finer points of networking.

Some people think the scams are deliberately bad - using poor grammar in phishing emails or technobabble in call scripts for example - because it means only the most likely marks will engage with the scammer. Personally I think it's just a reflection of the kind of people involved in these scams being unable to find anything more lucrative to do legally. I did have a more professional sounding than normal scam call last week though. It was from a "personal investment company", on behalf of a "hedge fund in Mayfair, London". The quality of the spoken English was a cut above average, and the script was quite well put together. I was on my lunch break, so happily wasted half an hour of the caller's time when they could be scamming someone more gullible. When asked if I made investments, I said I work in importation and put some of my money back into stocks and shares. As the call went on I started dropping more and more obvious hints that my importation involved chemicals of a "recreational pharmaceutical" nature, and that I had to be careful how I "washed, sorry invested" my profits. The penny finally dropped when I asked the caller if he was based in northern India, and if so whether he wanted to make some extra income bringing certain items from Myanmar into the UK via his back passage.

Well a couple of years industry experience might educate you on why IP blocking is a bloody stupid idea. Even more so "many years ago" when you were a forum mod, if it was in the dial up era. Most people are on residential broadband, which means they get assigned an IP address for a certain period and when that period expires - or they reconnect - they get a different one. That period may be as long as a couple of weeks, but is often as short as one day. Then there's the issue that a lot of people on business connections are sharing one or a handful of IP addresses with the rest of the people at the same site via Network Address Translation. So blocking an IP will block multiple users (and these days, even a residential user will typically have a bunch of devices with multiple users connected to the Internet via their router). (I have worked at places where entire ranges of IP addresses are blocked, based on the geographic assignment of those ranges. It's an imperfect means of blocking all traffic from Russia or China for example, but in my experience the people implementing that policy are at least aware it's a blunt instrument and often have to whitelist addresses as the demand arises).

Studio related "brush with greatness": A band I briefly played in were recording at Assault & Battery Studios (now just Battery Studios) in Willesden. The guitarist's friend was an engineer there, and we got to use the studio dirt cheap when no one had booked a graveyard slot. First off was the mixing desk, which had belonged to Trent Reznor, although I think we only used a a few channels on it as a preamp and to monitor mixes in Pro Tools. Then one evening I was in the kitchen and had a brief chat with a guy who was working in the programming suite, which was stuffed full with cool synths and samplers. I mentioned this on returning to the studio we were in, only to be told it was one of the owners. A chap called Mark Ellis, or more widely known as mega producer Flood.