skankdelvar

[quote name='Scott_LP' timestamp='1392042673' post='2363904'] JCM2000 DSL100, driving either one or two 1960 cabs. [/quote] That is what we used to call 'A [i]man's[/i] rig'. By God, that must be fun

I agree with the many excellent suggestions above. For the work you're doing he probably needs 3 or 4 varied basic sounds plus a couple of 'signature' tones. With that in mind, how about a relatively transparent, unflavoured amp as a platform (maybe an SF Fender Twin, a Twin RI or something a bit smaller like a Deluxe Reverb RI) and a simple but quality pedalboard / multi-fx stomper to give him the tonal variety. Stick the amp up on a stand so he can hear what he's doing. After a couple of rehearsals he should be fine. If his Dad is also his roadie he'll be happy to be humping less kit around.

By popular acclamation BassChatter OBBM produces the finest quality leads at frankly bargain prices. But why believe me? Just ask screen and recording stars The Andrews Sisters. [size=3][b]In harmony[/b]: [i]By the yard or by the cem - Buy that lead from OBBM![/i][/size] [size=3][i].[/i][/size]

While visiting a pal on the weekend I enjoyed a couple of hours on one of these Dual Terror things. It was really very good, though slightly nasal. This latter quality probably disappears in a full band scenario. I would recommend a DT to anyone in search of some rip and snarl. It certainly likes Fenders.

Hi Scott and welcome A tasteful and eclectic collection you have there - I hope you enjoy the forum

Wow. Scintillating piece.

Just passed my City And Guilds Millinery Part II ([b]7716-55)[/b], so if anyone wants their hat testing send me a PM.

Mad though it may seem, by suggesting a '[i]deal to get it back, no questions asked[/i]' Mr Ivison may risk prosecution under section 23 of the 1968 Theft Act which prohibits the advertising of rewards for return of stolen goods. It's unlikely that Plod will intervene, although a burglary victim was (recently?) cautioned for putting up similarly worded posters in his neighbourhood.

[quote name='discreet' timestamp='1391343138' post='2355927'] No controversy intended! I just can't play faster with a thicker pick, is all. [/quote] Keep your wrist loose and your action 'in the fingers' for those intricate movements when building to a climax. Always remember that quality is more important than speed and allow a few minutes to relax afterwards. As for playing with a pick, I have no suggestions at all.

Jesus Christ! [i]One[/i] rehearsal? [i]Two[/i] rehearsals? Any band I'm in should have the set in place, no mistakes and note perfect before we've met or even learnt how to play. Or I walk, simples.

As for masking off the board, I just cut a post-it note in half and stick the two bits either side of the fret (sticky edge butted against the fret). Does about 2 frets before you bin it and start with a new one. Low [s]tech[/s] tack, cheap and half-assed, rather like my playing.

[quote name='discreet' timestamp='1391133651' post='2353743'] Heil Hitler! [/quote] \ \ \ \ \ \ \ \ \ [color=#ffffff].[/color]

[quote name='MiltyG565' timestamp='1391109725' post='2353446'] I really don't understand why some people look up to people like that. [/quote] The reason why audiences looked [i]up[/i] to Prince was to attempt to catch a visual of his tri-lobal posing pouch and what might lie beneath.

'One' is splendidly multi-purpose and has spared me all sorts of trouble in the past. But one wonders whether others consider one a perfumed ponce for using it. Anyhow, back to the artist formerly known as 'the artist formerly known as Prince' (or Mr Squiggle as he was dubbed at the time). It's been a long journey from the flasher mac (with leggings) to the stately Halls of Justice. That the shimmying sexual acrobat of yore now spends his days trawling the internet for copyright infractions is rather depressing. Time the conqueror.

Having bought the Tweed '57, I have since acquired a Plexidrive and a Cranked AC. I'm very sceptical of product claims and honeymoon reviews but what this guy Wampler does is just remarkable. These little boxes get you very, [i]very[/i] close to the sound but don't 'feel' like pedals when you play them. Set and forget. I've only tried them through a 1x10 15w so far. May get a bigger head and a 2x12 out this weekend to see what it's like.

Depends on the Rivera in question. The company started with versatility, drifted off towards hi-gain heads then swung back to 2 channel boutique combos again. The 'American' channel (Ch 2) does several shades of Fender from clean to dirty ending up with a monstrous yet defined roar if you plug into the high gain input and kick the Ninja boost on. So, yes, they can do Fender on Steroids. OTOH, the British Channel (Ch 1) does a nice take on Marshalls and you can even squeeze a pseudo Vox out of it. And funnily enough, here's mine... late 90's R55/12

Yummy.

[quote name='BigRedX' timestamp='1390990875' post='2351947'] Places where live music is there for the purpose of allowing people to dance and the band is there to be heard not listened to has never gone away. IMO most covers and function bands fill this role these days. [/quote] I suppose it depends how one defines dancing. To my mind that's hundreds of people lindy-hopping in a 40's ballroom or a club full of mad-for-it youth. The focus there is on the communal act of dancing, as opposed to gazing at a band through one's phone, listening [i]very[/i] hard, telling off people who speak above a whisper and moving around entirely independently of others. Function bands in function venues certainly fulfil the 'I came to dance' criteria. Venture onto the floor and you'll be trampled underfoot by plump matrons in diaphonous frocks. Covers bands in general-purpose pubs, well, not so much in my experience. Mostly punters sit around the edges, nodding gently and listening (if one is lucky), apart from the local drunken mentalist lurching around the square metre of lino in front of the band. I'd have to stand by my original contention that most bands in 'Independent Venues' aren't really about sitting well back and getting the audience dancing. For myself, I'd rather remain anonymous and get a room moving than have a pack of gobbins staring open-mouthed at the stage, muttering 'How insightful - and such musicianship'. [size=3]Desirable outcome and no bass solos[/size]

[quote name='Tomjbass' timestamp='1390926193' post='2351378'] IMO, there's just no reason that attracts people to small venues anymore, at least not from a music perspective. [/quote] Many would agree and not just punters. The reason Mr Inglis' analysis fails is that it advocates external funding and restrictive practices in support of a model that's suffering from a decline customer take-up. Thing is, there are so many factors in play that it's difficult to prioritise any one course of action. With some honourable exceptions, few seem to be applying the simplest maxim of all; 'Find out what people want and give it to them'. It would be a start.

[quote name='PaulWarning' timestamp='1390919763' post='2351289'] thought I'd revive this thread after reading this [url="http://www.classicrockmagazine.com/features/rossi-lets-do-the-frantic-four-again-and-see-if-we-can-do-it-better/"]http://www.classicro...n-do-it-better/[/url] [/quote] Ta for the link. Your assessment is spot on.

To be fair, the Arts Council also gives bundles of cash to museums, libraries and touring projects. Whether the Southbank and The Barbican take a disproportionate amount - £20m - of the Council's £1.4bn budget is debatable. But I'd rather any spare cash went on school trips or maintaining library services than to keeping whiny gig promoters in Rizlas and beer. Let 'em sink or swim. And if man's best efforts cannot keep the independent venue scene alive, then there's no market and it's just throwing good money after bad.

[quote name='flyfisher' timestamp='1390917975' post='2351244'] In the 'good old days' music was a fairly rare commodity and live bands were the only way to get to hear it. [/quote] And before the good old days - that is to say, up till the 1950's - people did not go to 'see bands'. They went to dances where the band was there to be heard, not to be listened to (there's a difference). OK, there might be concerts (classical, jazz, musical comedy) and there might be musical performances during Variety Shows, but in only a few instances did 'popular music' bands draw an audience based solely upon their reputation - Ellington, Basie, Miller, James, Dorsey. And even then the band was pretty much a utility to enable dancing. Long story short, the 'Band as something to be looked at and listened to' thing is relatively recent and looks to be a short-lived anomaly. The biz will revert to the previous model: large-scale paid concerts in seated venues by name artists and a scattering of free gigs in pubs, rather like the 'Sessions' so often instanced by Irish Tourist Board advertisements. Face it, bands in pubs and small venues is dying out; we're more than halfway there so best get used to it. In other news; in the future, as now, dancing will take place to the accompaniment of pre-recorded music; no change there, given that so many of today's bands are completely undanceable.

Glad you're enjoying the new acquisition.

[quote name='RhysP' timestamp='1390839199' post='2350122'] I'm trying to imagine a situation that would have both Wreckless Eric & Eddie Waring in the same mens toilet - an "All-Star" edition of "It's A Knock Out" maybe? [/quote] One of the weirder moments of my life. I'm having a wizz, look round and there's Wreckless Eric next to me. Me: Evening. Like your work, got your album. WE: Thanks. This f***ing pub's full of rugby fans. Me: Yes. Hull Kingston Rovers were playing today WE: Bit of the 'Up and Under', eh? Cubicle door opens and out steps Eddie Waring to our mutual surprise.

[quote name='Beer of the Bass' timestamp='1390835227' post='2350050'] This week Dave Swarbrick, ... was ranting about a mid-sized Glasgow venue that didn't even provide a backstage loo or changing space, so he had to queue with the punters. [/quote] Were it not for such shortcomings, I would not - in 1978 - have found myself urinating next to Mr Wreckless Eric and our subsequent conversation about Eddie Waring (who coincidentally was in one of the traps) would never have taken place.