NancyJohnson

Sorry, something else here to support the whole not giving a rats bottom about these artistes bemoaning the meagre payouts from all these digital platforms. In the real world, how many people actually get paid for something they did years ago? Think just how weird that is. No Miss Swift, in the real world you do your hours and you get paid; you don't get paid again and again for that hole you dug seven years ago.

Spotify, Deezer, iTunes, Google, all a means to an end really. I've paid through the teeth for albums with two decent tracks and ten of fill for longer than I can recall, haemorrhaging money on vinyl, CDs, cassettes, gigs, merchandise, DVDs and Blurays and honestly I don't give a rats donkey that I'm only forking over a tenner a month for music now rather than hundreds. I still buy music in a tangible format...there'll always be shelf space for a few bands, but beyond that, nah. All these services are offering amaxing content in every genre; it's a brilliant thing. The world has moved on and its not about a musical landscape any more; it's not about ownership of content (unless you're from Shoreditch). The big money is in touring and merchandise. There's very little to be had from music itself now.

Aside from one issue where I got charged £999.00 for a Dominos pizza (sorted inside 24 hours, free pizza followed), I had money go twice on Paypal, yonks ago, but got it back on both times. I think the irritation was the not knowing how it happened and how easily it did considering how much account security is supposed to be in place.

If I see something with a long future publication date like this, I'll always just buy it. You know for certain that Amazon don't have a confirmed price and you can always cancel pre-release date. No brainer really. It happens loads.

When I placed my order for this on Amazon back in February, I bagged it for £18.59. Weeeeee! Go me.

Just revisited this thread to work out how to externally wire the Ged2112 after I pulled everything out to flip my rack. Have to say that since the dUg arrived, the Geddy unit has become fairly redundant. I've recently purchased a pair of Aguilars and tonally they're very hi-fi; smooth/refined, and suit the dUg way more than the Ged (I've yet to get anything usable out of it at this point). I'm not planning in moving any gear on at this juncture, but feel the Ged is more suited to a brighter cabinet configuration (ie the Barefaced). It's good to have a choice.

This is how he's able to buy all the basses.

OMG. How did you find out about the pomegranates?

Blame my mother. English teacher. Demonstrate, punctuate, abbreviate, elucidate. I think I knew these four words from the time before I even started walking.

Nope, nothing strange about me.

Because I'm a grammar Nazi, can I ask a little favour? Italics should be used for emphasis only. It's very distracting scrolling through a thread and seeing an entire reply italicized.

But does it djent?

One of my old bands used to rehearse in John Mayo's basement on St Margaret's Road in Twickenham for a while. Our singer lived next door. I remember her saying, "I think the bloke next door is in a band. You can hear a lot of music coming through the basement walls.'

As an aside, music or otherwise, I find these adverts abhorrent. These effing jolly old technicolour backstories selling a product barely a step above loan sharkism. Believe me, if anyone thinks it's a good idea to enter into one of these schemes, step back from the edge, take a deep breath and just don't do it.

It's a long and drawn out story, but here goes. About eight years ago, I formed a band called Nancy Johnson with a guitarist and a singer that I found through small ads and a drummer that I'd known since school (we were each other best men). We laughed like drains, constantly...I remember doing a gig in front of about 1,000 people and was laughing uncontrollably wondering how we'd gotten to this point. That said, revolving doors; the line up ebbed and flowed until I was the remaining original member. Musically, we moved away from a pop/punk ethic to a more garage/punky sound and we changed our name to Who Killed Nancy Johnson? but ultimately, it was still my band. We continued for around a year/eighteen months, gigging once or twice a week, trip to Milan/Turin, more gigs. Irrespective of the talent, I could write a book on the intertwined personalities in that band; guitarist hated the singer ('Can't we just fire him?'), singer worshipped the ground the guitarist walked on, the drummer just sat on the fence and saw every gig as an opportunity to hit on women. Me? I just wanted to write good tunes (I was doing the bulk of the writing) and have fun playing them...we were too old for world domination and it was never going to happen. Inevitably (as covered elsewhere), I left. The attitude of the other three, at a time where I had just lost my father-in-law and had a mother dealing with cancer, was abhorrent; everything came to a head and I walked. So there's now a band out there partially using my name, still playing my songs, with not an original member in it. It's like a football team, sure it's the same band, but it's not the same band. If there's an upside to all this, the band I'm currently recording with (Lutz) contains 75% of the original Nancy Johnson lineup. Musically, it's way more intense from where we were at eight years ago, but it's more fun than I've had in a while.

Just to recap (for anyone reading) concerning the Bass Shootout, which featured fifteen different basses. I reckon 20-25 of us made it into the room to listen to Gary playing a now all too familiar riff from Carry On, Wayward Son by Kansas, not once, but twice, all the while behind a heavy stage curtain. It doesn't get any better, huh? From memory, the highest recognition score was 4/15 and there were a few zeros too (which is kind of alarming given my late mother could have identified a Rickenbacker).

Sorry, I'm lost, this is a little too cryptic. When you say not him, I'm assuming you mean the conversion king. So who is this then?

Where do I have to send that cheque to again? 😂

I actually thought the Handbox was the best amp in that shootout by a country mile.

I think the only sign of the times here is how Ashdown have just fallen out of favour a bit. This type of approval ebbs and flows, much like the on/off love affair we collectively have for Warwick. I don't have any issues with Ashdown gear as such, I've had very comfortable relationships with MAGs and EVOs for many, many years; they're affordable, well-designed, reliable, staid, loud, robust, heavy, but in truth after several dalliances I figured out that tonally they were just a bit too safe for me. I just couldn't get the dirt I wanted and the valve drive feature just sounded like radio interference rather than grind. I always ended up just using a POD or some Tech 21 unit plugged into the effect return.

Here we are then. Pulled the trigger on a pair of Aguilar SL112s today. I think that's me sorted now. GAS has disappeared.

Over here, the marketplace is way different to the US; we don't have chains like Guitar Center, Sam Ash (or similar), the UK marketplace is a handful of stores that combine mail-order and regular store fronts (Andertons, Guitar & Keyboard Centre (GAK)). A load of people would also consider Thomann in Germany for large orders. The main strings-only business is going to be Strings Direct - they used to be exclusively strings, but have branched out into parts and peripherals. I guess that any business trying to get product into these stores will probably result in abject failure - issues with minimum stocking requirements, sale or return, driving down of selling-in prices - plus bassists (at least) are fairly fickle; I think we've all gone through a ton of strings to find the ones that are ideal for us on a personal basis; don't get me wrong; I really like SITs, but it's taken me years to get to the point of playing Elixirs. The main issue you're going to get is the think globally thing. It's all well and good saying go to Amazon.com or buy direct from you, but you need to factor in shipping costs and the waiting time for stuff to arrive from the US...these are issues when you need string tomorrow, so you'll just resort to buying whatever there is available. There's always going to be this nagging doubt of actually whether the strings will make it here as well. We have a lot of high profile players on the forum, guys who are gigging constantly, guys who are doing studio projects (that'll be me), guy who have a ton of experience and some influence. I'd say a good deal of these guys haven't actually heard of SIT and are using the big brands (D'Addario, Rotosounds, Elites, Ernie Ball etc.). Maybe consider trying to win these guys over. Send some over and get a British opinion. Start the ball rolling.

Mike How about we try and find someone who could just distribute these here? Or do bulk purchases. They are great strings, I loved the feel of them. Paul

I'd often thought of this as being akin the the NME effect; (true or false) Danny Baker once cited the jingoistic Columbia Records A&R funding trips globally for the likes of Parsons and Burchill to report on Pink Floyd, when they must have known the copy would have been wholly negative. Same goes the movie monthly Empire, being given full access to film sets, key actors and directors, then presenting an article running over several pages followed hot on the heels by a two-star review.