skankdelvar

AFAIK, no-one does an off-the peg Capri Orange. But the International series colours were all car paints, so it's a case of finding a match. Based on the scant research available, I think there are a couple of close candidates - though there are probably hundreds I've missed. Porsche signal orange and Lamborghini Arancio Atlas Mica look good. [b]Porsche Signal Orange [/b]from the early 70's - see here: The Porsche paint code for signal orange was - I think - L20E and the PPG code is - I think - 60617. There was a Ford (Europe) Signal Orange in 78/79 - PPG code xsc 1253, but it looks a bit wrong to me. Might be my eyes [b]Lamborghini Arancio Atlas[/b] *0058 - and the PPG code is 62494 / 62495. It's slightly pearlescent, though this may not be a bad thing. Either way, a bodyshop could probably order it for you. There's a guy who runs quite a big specialist automotive spraying company who lives across the road. PM me if you'd like me to ask his advice about this.

[quote name='ThomBassmonkey' post='1283317' date='Jun 26 2011, 08:29 PM']I do my own setups though and occasionally for band mates so it's still important though. I just don't know if it's £100 important (price difference between the Peterson and others like the Polytune etc).[/quote] Slight derail. AP Tuner (software) from www.aptuner.com. Entirely brilliant for set-ups (though useless onstage). Lots of different pre-sets and temperings. Savable sweetened tunings, etc. Free to trial (no time limit) and $35 if you like it.

[quote name='timmyo' post='1283103' date='Jun 26 2011, 04:20 PM']I'm going to register a big fat "disagree" with this ... Enjoy the music. If you can feel the groove, and plant that in your audience, get on with it.[/quote] I'm a bit confused. Which bit did you disagree with? This bit? [quote]If someone wants to cover a song they like and with whose sentiments they sympathise, then it's between them and their audience[/quote] Or from a follow-up post: [quote]FWIW, I'm (sic) believe that everyone everywhere should play whatever they like.[/quote] So, actually, we're in agreement on that. Like you, I was posting to disagree with the proposition that certain songs should be off-limits Perhaps I've lost my Mojo. If you'd like to revisit my posts, you'll see that - for myself - I think it would be nice if the blues had a bit more contemporary relevance. And that I find wobbly Brits overdoing the old-school bluesman thing a bit embarrassing. That's just me. Perhaps it's the obligatory hats.

[quote name='Doddy' post='1283042' date='Jun 26 2011, 03:29 PM']As far as I'm concerned,there is a huge difference between the professional 'band' musicians and professional 'working' musicians.[/quote] Strange, isn't it, the music business? You couldn't imagine other industries working that way. U2 - it's like 4 mates buying a clapped-out bus and driving randomly round the streets while other companies hire PSV-licensed drivers, do a health and safety case, tender for contracts, etc. And the 4 mates end up biggest of all. Bonkers.

[quote name='blackmn90' post='1283027' date='Jun 26 2011, 03:12 PM']What do you guys see as being the difference in skill and knowledge between amateur musicians and professionals?[/quote] There may not be any difference. Some amateurs are fantastic players. Some professionals (i.e. people who get paid to do it) are widely denigrated - Mr A Clayton of the popular combo U2, as mentioned above. IMO, there is no absolute musical skill or knowledge correlation to be drawn based on the players source of income. 'Professional' is not a synonym for 'accomplished'. [quote name='blackmn90' post='1283027' date='Jun 26 2011, 03:12 PM']As a student of music i hope to be a professional as do all the people at my college. But sometimes you see video's of players that are just bedroom players or play in a pub at the weekend and some of them have amazing technique in slapping, tapping and so on.[/quote] The ability to slap and tap to athletic standards is not necessarily the calling card of today's professional. The professional supplies services to the specification of the customer. I'd imagine there aren't that many customers for slap and tap at the moment. [quote name='blackmn90' post='1283027' date='Jun 26 2011, 03:12 PM']So i was thinking whats stopping these guys becoming pro's?[/quote] Better paid day jobs? Established family life? No desire to turn a lovely hobby into a horrible job? One's circumstances dictate an outcome far more often than do one's abilities or desires. I'd be an astronaut, else.

[quote name='redstriper' post='1282997' date='Jun 26 2011, 02:16 PM']And it's not just my ears - my old one sounds better to everyone who has heard the comparison with newer models in blind tests. I don't know if it sounds better because it's old or for other reasons, but I'm interested to know of others who may have experienced the same phenomenon.[/quote] That's an entirely good point you make and fair play to you. It sounds better to you and to other observers. But that may not be because it is old. Or it might be. Either way, it's good that you have a nice-sounding bass If a particular production period can be shown to have incorporated certain recorded and verifiable differences - pick-up impedance, construction methods, QC, etc., then we're on safe ground. We can reliably attribute certain tonalities to specific issues. But if simply changing a cap value can radically change the sound of a bass, then an ephemeral quality such as age becomes less relevant, IMO. I've played a fair few basses and guitars over the last four decades and production date didn't seem to have a lot to do with whether they sounded good or played well. Just my experience of the phenomenon. Had the hand of fate sent me a different selection of instruments, my view might have been different. But it didn't. Just my 2p.

If the 'old is better' thing was simply confined to Fenders / bass guitars / musical instruments, then there might be some truth to it. The fact is, almost any community of interest - cars, cameras, boats, trains, whatever - will have a proportion of enthusiasts who regard 'old' as better. With cars and the like, it's very easy to observe and cite real improvements in quality and function over the last 50 years. But things haven't changed that much in the world of electric bass guitar. Modern basses aren't [i]much[/i] better or [i]much[/i] worse. Hence, the space exists to permit the assertion that old is better. Not because it verifiably [i]is[/i] better, but because there's not much visible or audible difference to disprove the contention. The motivation behind 'old is better' is that lots of people don't like modern life and would prefer to live in the past. In lieu of a time machine, they acquire the past by acquiring or venerating old things. Not that this is a bad thing. As with one's perception of tone, it's all very [i]personal[/i], which might explain some of the heat in a debate where almost nothing can be measured or verified.

[quote name='u-sound' post='1282053' date='Jun 25 2011, 12:27 PM']Prompt newbie - where you can make a post about this preamp ?[/quote] Good evening, Moscow! Contact a moderator - let them know what you'd like to post and they will advise you. Welcome to the forum - hope you enjoy it.

[quote name='Roland Rock' post='1281449' date='Jun 24 2011, 08:09 PM']Update Edit: Def going for the Orange[/quote] Nice. In case anyone's wondering, here's the full range (ish) in one shot:

Sixty-odd years and hundreds of thousands of good, bad and indifferent Fenders means that using production date as a parameter is like playing darts blindfolded. In a room full of dartboards. But it's nice to know we care enough about it that we go off on these little jaunts from time to time.

Here's a legitimate way round the limited colours vs authenticity issue. In 1980-81, Fender offered a range of colours called the International series. A typical Fender ploy, this was a sneaky way to use up surplus 1978-9 bodies and necks (retaining their production year serial numbers). The colours included Arctic White, Morocco Red, Maui Blue, Monaco Yellow, Capri Orange, Sahara Taupe, and Cathay Ebony. Who's to say your P might not have been one of these? The capri orange is lovely, but here's a P in Maui Blue:

[quote name='Earbrass' post='1280352' date='Jun 23 2011, 11:38 PM']Most folk singers nowadays have never even seen a gander-bag, let alone a cordwangle.[/quote] Beyond my ken, I'm afraid. FWIW, I'm believe that everyone everywhere should play whatever they like. It would just be nice if [i]some[/i] singers could deliver a blues in such a way as the words make some kind of sense as a communication. Or write some songs about something that happened yesterday rather than fifty years ago.

[quote name='Happy Jack' post='1279846' date='Jun 23 2011, 05:08 PM']In all fairness, Paul, if it wasn't for bad luck then I'd have no luck at all.[/quote] Where falling off bikes is concerned, that would indeed seem to be the case. [quote name='chris_b' post='1279930' date='Jun 23 2011, 06:06 PM']I was dusting my broom earlier so I'm OK.[/quote] I once heard this (incorrectly) delivered as "I beleeeeve, I beleeeve I'll dust my room". Images of Elmore James in a floral pinafore with a can of Pledge.

[quote name='SteveK' post='1279753' date='Jun 23 2011, 04:13 PM']Can I just make one suggestion? Don't choose songs that describe the hardship/oppression of the African/Afro American people by the whites. I find it embarrassing to listen to, and it's just wrong IMV.[/quote] You touch upon an area which has energised me for some time. IMO there's nothing more perfectly buttock-clenching than watching a plump white-collar middle-aged Englishman singing about 'his' experiences on a chain-gang in 1930's Alabama. It's just [i]silly[/i]. Parchman Farm. Don't go there. Not sure that it's [i]wrong[/i], though. If someone wants to cover a song they like and with whose sentiments they sympathise, then it's between them and their audience. But I think they're missing the point about da Blooz, which is that it was - originally - mostly about personal or contemporary 'issues'. Problem is, people deliver the old songs without really understanding what they mean. The words are just sounds that they're trying to reproduce. For me, performance is about engaging minds as well as feet. So blues without meaning - and I don't mean this unkindly - is lacking in foundation. If one wishes to more fruitfully engage with the blues, it might be more rewarding to update and more precisely localise the message. This entails re-writes or originals, which flies in the face of certain audiences' expectations. It's not easy. Equally - given that much of the blues canon was informed by then-prevailing social and political circumstances, it's difficult [i]not[/i] to step on someone's long-dead toes. Even though the motivating social deprivation is entirely unarticulated, one might argue that "Saturday Night Fish Fry" or "House Rent Boogie" or "Born under a bad sign" should be equally off-limits. At which point the pool of available covers would shrink by an order of magnitude such as to clog setlists with even more renditions of the 'same old songs'. Back to the drawing board.

Irrespective of genre, first place I'd start is your local hospital's Secure Unit. Thereafter, the usual round of websites (joinmyband, bandmix, formingbands), postcards in music shops and rhsal studios etc. Maybe hang around some jam nights and stalk likely candidates. Ask other bands if they've tripped over anyone in their travels, etc. One trick I've used is to scope out other bands website 'wanted' ads and pm those who have posted replies. After a polite interval of course. It's a long, grimy job but it has to be done.

[quote name='wateroftyne' post='1279709' date='Jun 23 2011, 03:21 PM']Behold![/quote] Sweet Jesus's Mum. That's magnificent trousers. Thank you for your kindness in sharing what must have been a deeply emotional experience.

Information about the Lyte is pretty thin on the ground. AFAICS from going round the usual forums, sources, etc., the Lyte was made in Japan from the late 80's, though some people believe they possess 85-86's. An active, mahogany, humbucker-loaded Deluxe Lyte variant in natural with gold hardware appeared around 1990. Rumour has it that (some of?) these were US made, but I can find no confirmation. Eventually the Lyte seems to have been superceded by the Zone bass around 2000. Most reports I've seen state the Jap Lyte was originally fettled with chrome hardware but the first one I saw (about 89-90) definitely had gold. I know, because that was the thing that put me off it. YMMV If the OP could bung up some images?

[quote name='wateroftyne' post='1279415' date='Jun 23 2011, 10:01 AM']Was Kenny wearing the same trousers as he had on at the Newcastle City Hall gig? What a pair of troosers. Magnificent.[/quote] [quote name='Mr Fudge' post='1279419' date='Jun 23 2011, 10:08 AM']The answer to this question is definately YES! They were indeed a magnificent pair of trousers. The inside leg measurement ia 18 inches I believe.[/quote] [quote name='wateroftyne' post='1279425' date='Jun 23 2011, 10:16 AM']I've coveted them trousers ever since the day I laid eyes on them. Incredible.[/quote] Intrigued beyond reason by this discourse, I have spent the day Googling sundry permutations to no avail. Where might I find images of Kenny Passarelli's magnificent trousers? If none are available, perhaps one of you might be kind enough to supply a more detailed written description. I cannot rest until I know more.

[quote name='jakesbass' post='1279040' date='Jun 22 2011, 08:58 PM']The moment you go beyond someone's understanding, unless they are open minded individuals, which lets face it is rare in most walks of life, you cease to indulge [i]them[/i] ergo you will be considered in most cases to be indulging yourself...[/quote] Unless your* audience attends [i]in expectation [/i]of having their understanding taxed or surpassed by your unfettered self-indulgence. Such as might be the case in [i]certain [/i]genres. In which case, failure to indulge yourself would also be a failure to indulge your expectant audience. The only way to genuinely indulge such an audience would be resolutely to avoid indulging them through any display of self-indulgence. So they're expecting beyond their understanding, you play The Banana Splits song and they ask you why you did that. You reply "You don't understand, do you?" They say "No" and you say "Job done. I've gone beyond your understanding." [size=1]* You in the sense of 'one'. Not you personally.[/size]

Namechecks for Johnny Winter, Albert Collins (funky!) and Wilko Johnson.

[quote]As early as 1973, he was making bass history by playing some of the most tasteful rock bass ever heard on Joe Walsh’s The Smoker you Drink, the Player you Get LP.[/quote] Having owned that album almost since it came out I can aver that Passarelli's bass (fretless or otherwise, I never even noticed) is by no means the stand-out element. YMMV.

Guitar Village always used to have an annual 'Boss Gone Mad' sale. Do they still?

[quote name='Marvin' post='1277488' date='Jun 21 2011, 06:48 PM']*Marvin frowns knowingly*[/quote] Skank strokes chin thoughtfully. WoT prods a sticklebrick uneasily. It commences to rain. As for doing things for one's own satisfaction [i]or[/i] indulging one's audience, well, I think the best artists are those who can do both at the same time. Mind you, that is [i]such[/i] a crashingly obvious statement. Sorry, chaps.

[quote name='Marvin' post='1277417' date='Jun 21 2011, 06:00 PM']This thread has baffled me, I can't work out what on earth is going on.[/quote] Me neither. Sod 'em. Let's go look for some sticklebacks.