skankdelvar

That's all so badly spelt, I reckon it's a cunning double-bluff by a very smart person. [i]Nobody[/i] could mis-spell 'more'. Could they?

Never smashed one onstage, but trashed a guitar at home one day in a hissy fit. Long ago, however, I was occasionally given to shoving the headstock through a speaker cone and leaving the whole thing dangling. It's all a showbiz thing, I reckon and pretty much overdone. But watching (the late) Wendy O Williams take a chainsaw to a guitar - that never got old. Don't see why people get upset, though - if you own it, you can do what you like with it.

Bought a 4x10 off Shaggy. Brilliant deal, item in great nick and he arranged a real easy meet-up. Definitely one of the good guys - let me handle his newly acquired '65 T-bird! Skank

If anyone fancies joining his band, here's the details he stuck in one of his sales [i]on Ebay in the public domain [/i](?!?) [quote]I NEED A BASS PLAYER AND A GUITARSIT WORK WAITING PLEASE NO TIME WAISTERS I NEED GUYS WHO WANT TOI PLAY NOT MESS AROUND 01516370974[/quote]

[quote name='funkypenguin' post='466489' date='Apr 19 2009, 01:48 AM']the abundance of material on the internet makes it far easier to learn an instrument so instrumentalists dont have to work as hard for their knowledge/facility.[/quote] Acquiring and assimilating knowledge with greater ease and convenience is surely a good thing. What are they suppose to do - ignore it? Walk ten miles to school everyday rather than take the bus or accept a lift? (Me, I lived in a septic tank at the bottom of a lake. Tell young people that...) [quote name='funkypenguin' post='466489' date='Apr 19 2009, 01:48 AM']Its my opinion (and ONLY an opinion) that many young musicians dont practice enough and dont push themselves.[/quote] That's a fault which is by no means exclusive to younger musicians. Even rarer in my experience is the older musician who practices enough and pushes themselves. God, I envy the energy and commitment that the young put into their music, whatever their motivation for so doing. How many of us Old Bobs strapped on a guitar to explore 'modes'? We (mostly) did it to get looked at and get laid. If anything, I see more commitment to musicality today, rather than less. [quote name='funkypenguin' post='466489' date='Apr 19 2009, 01:48 AM']as for the bit about music today not being as bad/basic as the pistols....i see/hear some bands and wonder....when they are making elementary errors such as being out of tune/not in the same key, it speaks for itself.[/quote] These errors are gigantically obviously by no means exclusive to younger musicians. They may make 'mistakes' and they may be inexperienced and they may still be learning their craft, but I'd rather they were making mistakes on a real bass than on a Guitar Hero Controller. And, given the plethora of cheap electronic tuners and better constructed instruments, I suspect more bands today are in tune at concert pitch than 20 years ago. A few months ago, I replied to a post by a young musician who was bitching about 'old guys slagging off the young' and assured them I hadn't seen much of that. Clearly I was wrong. I intend no personal disrespect or offence when I say I find certain propositions as I've read here to be unsubstantiated, anecdotal and unhelpful in that they rarely propose a solution. Beyond that, I see no benefit to our community in marginalising the players who will be making music while oldies like me are being helped off the bed-pan.

...and Tait scores yet again. As for The Pistols (who I love) - "as good as they need(ed) to be to get a record deal" sums them up perfectly.

Sold me his combo. Exceptional value, and in excellent nick. Really good bloke too. (Let me test the amp with his Jap P-bass - and that's a killer axe!) Buy with confidence. Skank

You have my fullest sympathy - but Old Git's right. The starving artist just starves. Then he or she is a dead artist. If you've got an alternative source of income, then fine - be as original as you like - the audience is almost irrelevant. But if you want to build an audience and make a living off them, you have to give them what they want - it's a transaction which any professional artist accepts. So you need to find an audience that will like your stuff. Which means finding a promoter or a venue that does that stuff. And if there isn't one locally, you either have to travel or start your own event - which isn't that difficult.

[quote name='mike257' post='464879' date='Apr 17 2009, 12:11 PM']... the music industry wants bands that people - ordinary non musician people off the street - can connect with.[/quote] ...and so they sign ordinary non musician people off the street. (All this is nothing new - the Monkees were a totally manufactured band and that was 40 years ago).

[quote name='mathewsanchez' post='465143' date='Apr 17 2009, 03:31 PM'][url="http://cgi.ebay.co.uk/Kool-The-Gang-1981-Authentic-American-Music-Award_W0QQitemZ260393893557QQihZ016QQcategoryZ108764QQcmdZViewItem"]http://cgi.ebay.co.uk/Kool-The-Gang-1981-A...4QQcmdZViewItem[/url] I have to say that's pretty cool, in my opinion anyway.[/quote] I wouldn't want to Get Down on [i]that[/i] item. Ooooh, me Emmas...

It's not about distorting the higher frequencies (which you could achieve by splitting your T-Bird signal through an A-B box and running some output through a graphic or a high-pass filter, then through a fuzz, then re-integrating) - fuzzing the high freqs fuzzed will just give you a very tinny sound. It's about the actual notes you're playing . Quick way to make your T-Bird sound like a Baritone is stick a capo on it. Or run it through a pitchshifter with 100% wet output. Or just buy a baritone.

[quote name='bilbo230763' post='463673' date='Apr 16 2009, 09:40 AM']PS - I saw Mungo Jerry at The Cartoon in Croydon in 1988. They rocked.[/quote] No offence intended to Ray Dorset and his unfeasibly large sideburns - and that "In the Summertime" is "sh*te" is just my addled opinion. But taking 1970 as an example of "pop is always crap" is kind of interesting; some classics and some not so. Number at end of each line is 'weeks at no:1' 31 Jan 1970 Edison Lighthouse Love Grows (Where My Rosemary Goes) 5 7 Mar 1970 Lee Marvin Wandrin' Star 3 28 Mar 1970 Simon & Garfunkel Bridge Over Troubled Water 3 18 Apr 1970 Dana All Kinds Of Everything 2 2 May 1970 Norman Greenbaum Spirit In The Sky 2 16 May 1970 England World Cup Squad Back Home 3 6 Jun 1970 Christie Yellow River 1 13 Jun 1970 Mungo Jerry In The Summertime 7 01 Aug 1970 Elvis Presley The Wonder Of You 6 12 Sep 1970 Smokey Robinson & The Miracles Tears Of A Clown 1 19 Sep 1970 Freda Payne Band Of Gold 6 31 Oct 1970 Matthew's Southern Comfort Woodstock 3 21 Nov 1970 Jimi Hendrix Voodoo Chile 1 28/11/1970 Xmas No 1 Dave Edmunds I Hear you knocking 6 [quote]QUOTE (wombatboter @ Apr 16 2009, 11:30 AM) I am confronted now with ... P. Diddy featuring his landlord who used to know the butcher of Tupac...[/quote] My landlord used to know the greengrocer of Biggie Smalls. Liked a nice Conference Pear, did our Biggie.

Short thoughts: * Mainstream media plays 99% pap. X-factor nonsense sells because LCD achieves best sales among people who don't actually like music. * Mainstream 'Popular' music has always been crap. Look at what was big in the singles charts during 70's heyday of classic rock. Mungo Jerry? Englebert? All sh*te. * Web now full of good gear. But too difficult to find. Need uber-site * Too many bands everywhere, mostly derivative. Cull required. * Radio 2 has two country shows but no proper 'rock' show. * Big 5 Record companies playing it safer than ever, rely on under-funded indies to develop talent * 'Rock' has lost it's danger. Used to be about 'rebelling' - sex, drugs, alternative lifestyle etc. Now it's an HND career option. Neutered, toothless. Gareth Gates. * We've run out of chords / melodies - all been done. Jazz only answer, all hail King Bilbo

So [i]you're[/i] the one that taught him to slap! Welcome to the forum and may you soon find the gear you're looking for

Hi and welcome. Don't worry about not having much to say just now. Plenty of people here with the opposite problem

Hi Yaself, Maxiburke. Welcome and enjoy

[quote name='Clive Thorne' post='462898' date='Apr 15 2009, 12:23 PM']These improvements only come about from feed-back once the product is in use.[/quote] Beta testing by end-users. But fair play for sending the freebies.

[quote name='exmando' post='462203' date='Apr 14 2009, 03:15 PM']After having an extended loan of my mate's 1970 P-Bass I now have the opportunity to buy it... it's been refinished and has had some mods ( xlr on front, hipshot tuner) - plays brilliantly and it is an excellent bass - but I have absolutely no idea of value - any advice?[/quote] In the 'modified' state, less than you'd expect, unless the mods are reversible. Others would know better than me, but, depending on mods, quality of re-finish, maybe £500-1000. Well, that's what I might pay.

When you hear Lemmy live, you're hearing him through an N'000 watt PA rig. Volume from the PA, tone from the amp. Why shag around with 2x10's - they'll only fart out quicker than the bigger cab. There's absolutely nothing to stop you sticking your amp through a coupla 4x12's - easier to shift than a 2x15 and there are plenty of bargain 4x12's at the moment, cos everyone's downsizing. Looks monster too. The other option is the old Eddie Van Halen trick. Run a marshall into a dummy load, with a line-out to a couple of huge tranny power amps. Marshall tone at 1000+ watts.

I bass-gigged a Marshall 50w Mk2 JMP against a cranked AC30 for a year or so. Fine for rehearsals and small pubs. Any venue that requires 300-400w, you'd prob be using a DI into PA anyway . The advantage of a bigger amp is that it gives you more clean headroom. OTOH, you may not want clean anyway, so cranking up 300w of valve through sensitive cabs in a rhsal room would probably kill everything there bar the cockroaches. Trust me, a well-serviced 100w marshall is seriously loud.

Right, I've been running the demo a bit. Something of a brainf**k, but I'll persevere as it sounds very good, except when it decides to go jazz-fusion on me. Will prob download addictive and groove agent demos too...

[quote name='Greene-Mann' post='461995' date='Apr 14 2009, 12:14 PM']Sounds good to me, will i be able to compete in volume to my mate's (Gu***rist) Marshall JCM 50watt thing....because that can be a bit of a monster[/quote] You might [i]just[/i], if he rolls off a bit of his bass end, and gives you some space in which to operate...Give it a try.

[b]What made you the bassist you are today?[/b] Sporadic practice and alternating with guitar [b]Who do you think had the biggest influences on how you play now?[/b] Me. Never had a lesson, never 'learnt' a bass line. [b]Where do you think you want to go from here?[/b] Find a regular working band without 'issues' [b]Why do you think you want to go there?[/b] Better there than here. [b]Do you believe you have a "personality" on the bass?[/b] Dee-Dee Ramone if he'd liked Blues [b]Specialist question: What is it you love about that 1971 P-Bass?[/b] It's a '71, but I'd prefer a '69

I'd imagine that the majority of bass players (and Mfr's and reviewers) are pretty conservative. Why? Well, our job is mostly to put low-end notes under a song. Since the 1950's our tool of choice has been a guitar-like stringed, tuned instrument with magnetic pick-ups. The main innovations have been adding a couple of strings, more pick-ups and active circuitry, taking the headstock off, changing the construction materials from wood to metal or carbon-fibre. But it's still a guitar-like stringed, tuned instrument with magnetic pick-ups. To put those low-end notes in we could have been using bass instruments derived from, say, tubas, theremins, tubular bells, harmonicas, wobble-boards or hammers on steel. And our idea of being radical is buying a guitar-like stringed, tuned instrument with magnetic pick-ups that isn't a Fender?

+1 on the bassman head. Silverface jobbies from the early-mid 70's are relatively easy to find, simple 'hand-wired' circuits that any competent tech can handle, sound nice and are both cheaper and louder than late 60's / blackfaces. Not as loud as yer VBA's or the big modern Fender, but cheaper to buy, easier to service and cheaper to re-valve. Flip-tops are lovely too, but again, not as loud as yer VBA / Fender 300.