skankdelvar

Just saw this on Rick Beato's channel. Seems that 11 years ago there was a fire in a storage building at Universal Studios in Los Angeles. What Universal never disclosed at the time was that nearly half a million archived master recordings were lost in the fire. According to Beato these included performances by the following and in some cases all their recorded work: Apart from those artists above it may be the case that the entire catalogue of Chess Records masters has been lost , including performances by Muddy Waters, Willie Dixon, Howling Wolf and more. To some, this might not seem too important given the wide availability of these artists' work in derivative formats. Not so. We are talking here about the physical manifestation of the original recordings; the MP3 on one's phone is to the master recording as a postcard of the Mona Lisa is to the original painting. In the event that new formats come along - as have CD's and MP3's - the original masters will no longer be available for conversion. It has been speculated that Universal have kept quiet about this for 11 years because an inability to demonstrate their physical ownership of the masters would impact on licensing deals, etc, while also leading to litigation from the artists or their estates. It might seem like a silly thing to worry about but I think this is just awful Check out Rick's vid for more info.

Oh, Si! Thank you so much for that vid.

Because they can

MIM Bass V re-issue. Just do it, Fender, alright?

I used to read about The The and mistakenly assumed that the band should be referred to in conversation as 'the The The'. Boy, was my face red!

Their 'Inspired By' range is particularly toothsome. Who among us might not covet a well-made reissue of the Wilshire or the 1966 Century below? £450-ish new inc top quality hard case, a dinky little replica of the original certificate of ownership and strung 11-52 from the factory. Scrupulous attention to detail that the main Gibson brand might do well to adopt

I just think that Gibson are behaving oddly pi55ing on their own chips by behaving like a peevish gorilla at a time when they should be focused on mending fences with a sizeable slab of disaffected consumers. The time to pursue copyright infringement is when customers (and potential customers) are back onside with the company. That said, it might be that the hedge fund wonks who now run the company are attempting to enhance the value of the company by clearing up any unattractively loose ends in respect of trademarks which might excite the concerns of future investors or outright buyers. A sign that Gibson may be back up for sale sooner than expected? Who can say? If, however, Gibson's plan is simply and negligently to run high-profile lawsuits alongside their customer re-engagement strategy then that's Juskiewiecz levels of crazy.

'Parsimonious' - a word which appears only infrequently on these pages. Indeed, I can only find 35 instances of 'parsimonious' and its parent noun 'parsimony' in the entire history of the forum. Even this number includes occasions when the post containing the word has been re-quoted so the true, unduplicated figure may as low as twenty appearances or fewer. To the unenlightened, twenty deployments of a word may seem quite a lot but I can confirm that the word 'The' has been used more than 14,251,000 times since the forum's launch over a decade ago. I think this number rather puts matters in context. AFAICS the most frequent user of the term 'parsimonious' may be Ol' Cactus Grabber (aka Mr @Paul S) though I may be in error, the BC search function being tiresomely diffuse in its presentation of results.

Me likey also the old Combos. I have really no idea why Mr Hall doesn't draw more deeply on the firm's heritage. Perhaps it's because he's a total wankspangle.

Ha! That would be just too delicious, Fender suing Gibson over the Les Paul body shape

It is an almost universal condition. Only 7% of us here are in completely idiot-free bands (and I'm not even in a band atm so that jacks the average up).

Frankly, I think it's time that the estate of the late Mr Paul Bigsby (1899–1968) sued both Fender and Gibson. Below: From 1947-1948 (four years before the Les Paul and six years before the Strat). Nice headstock and body shape, eh? and this two pup Bigsby: It is a fact that both Leo Fender and Les Paul knew Bigsby, sat around and discussed guitars, saw his work, etc. Suck on that, Gibson bread-head dudes.

I like that. I'm a sucker for customarily two pick-up instruments presented with but a single pick-up. (See Fender Esquire, SG Jr, LP Jr, Ric 420)

That's a good question. Some of us rarely practice in a structured sense, preferring to noodle around aimlessly. Others buy books and watch YT vids. Others have regular lessons (even if they're very experienced players). To an extent one's practice regime is determined by the scope of one's musical ambitions, availability of time and depth of commitment. So if one wishes to be able to accompany any tune in any key in any genre at the drop of a hat then one will choose a different path to someone who's happy enough to stick to one or two genres and bang out the roots. There is not necessarily a direct correlation between skill and frequency of gigging . There are plenty of very talented bassists in our little world who seldom venture beyond the bedroom and many less - shall we say - formally educated players who enjoy a bulging diary. Indeed, those for whom the gig is the thing might suggest that past a given level of proficiency it is equally important to develop one's networking skills and the ability to tolerate idiotic band mates. At the very least one should develop one's skills to the point where one knows approximately where all the musical notes are on the fret board; can play a few simple scales and be able to work out some simple bass lines from those scales; can instinctively feel a chord change coming without needing to consult a crib sheet; to know when to play fewer notes; to lock in with a drummer so that you pulse together. Frankly, that's enough to be going on without worrying about the exotic stuff one may see on YT. As for covers, there are a number of different approaches if you're doing genre stuff like punk. One is to punk up a well-known song from another genre and deliver it to the audience with a certain knowing archness. Another is to take a famous punk classic and just do it straight so the punters go 'Yeah!'. A good place to deploy a classic is towards the end of your set. Another approach is to take a very obscure punk song, tweak it so that it sits comfortably alongside your own songs (without standing out as an obvious cover) and helps to bulk out your set list until you've written more originals.

My concern here is that the left hand doesn't know what the right hand is doing. June is an absolutely critical month in terms of embedding the story that 'The new models / ranges show that Gibson's finally getting it right'. Instead, it's now all about lawyers and questionable claims. Moreover, Gibson made a lot of enemies in the industry and among consumers when the company very visibly stiffed its suppliers. Going after their competitors before they have been seen to have addressed long-term issues of QC, price, value and heritage is complete madness. I can't imagine the consumer PR guys are very happy about this.

So Gibson are launching lawsuits a week or two after the webz ripped them a new one about the Agnesi vid and just as the eagerly awaited and critically important new models are shipping?

1. Has anyone found playing to a more genre oriented audience results in an improved response Yes. When starting out it definitely helps if you can find a venue which actively promotes (or at least accommodates) your genre of choice. Basically you and your band tip up and insert yourself into a pre-existing scene. If you're a start-up band then don't expect to get paid more than a pittance, if that. 2. Has anyone found that most audiences want to hear covers and not our own material Depends on the venue. Yer average local pub offers live music mostly as an incentive to people to come and drink there. Yer average local punter going for a night out at yer average local pub with a band thrown in (as opposed to specifically going out to see a band) seldom welcomes 'challenging' material. In that respect, vanilla covers bands offer reassurance and familiarity and ignore-ability whereas originals bands - er - don't. The trade-off is that covers venues are pretty much ubiquitous whereas genre-specific venues are fewer in number and therefore more thinly spread in a geographical sense. This means that bands and audiences have further to travel with all the concomitant issues of cost, time and logistics. The upside to genre-specific or music-specific venues is that punters are going there specifically for the music rather than simply to get mullered with their friends and moan that the band is too loud. 3. I'd like to swap the bass guitar neck onto my explorer 6 string body, do people this this is possible? Yes, people have done stuff like this. Yes, it is possible. But it is not a straight swap and will require substantial reconfiguration of the component parts for little real benefit. If you want an Explorer bass buy an Epiphone Explorer bass or a similarly asymmetric instrument. Don't buy something that's too pointy unless you want punters to think you're a Metal band.

When I got to that part of the story I was literally rolling on the floor laughing my ar5e off but what happened to him when he met Jon Pertwee made me cry. But the thing about Live Aid, the lead singer, the microphone and the superglue was a classic, though.

Frankly, I am surprised you did not know that the BassChat approved method of generating one's stage name is: (A seaside resort visited in one's childhood) + (The name of the last establishment where you bought a hot beverage whether as a standalone or as the culmination of a tasty meal) Ergo, I am known to my public as Torremolinos Starbucks.

Sorry to disappoint, Rich, but I've never met Mr Goggle. I'd welcome the opportunity because he's a minor legend even to the extent of a short-run Fender Tony Goggle signature bass which makes the Roscoe Beck look boringly conventional. Having read some of the anecdotes that have been printed in interviews I've always hoped Goggle would write a book like Mo Foster's Seventeen Watts? about the early days of British Rock. The one about Nico and Paul Kossoff was funny and sad at the same time.

A conclusion which any reasonable person might make and further evidence - were it needed - of the contempt in which we are held by the perpetrators of this falsehood. They think that we won't notice but that if we do, we will assume that Mr Porky Pig has let himself go. I put this observation to Mr Pig's legal counsel and he agreed with me that the imputation of over-eating could be added to the charge sheet they are preparing for submission to the Superior Court of California (Mr Pig's home jurisdiction). If the video makers are wise they will settle damages before the case comes before a judge. I understand that Mr Pig is confident that justice will be served. In other news, it seems that the bogus Porky Pig has gone into hiding following the revelation that he is - in fact - Mr Rodney Pig, a supermarket bag filler from Cupertino, Ca. with convictions for petty larceny and possession of cocaine.

I'd definitely pay $2499 for a guitar with a squint pick-up just so I could admire its characterful-ness. To be fair, the squint Gold Top in the vid was probably made on Henry Juskiewicz's watch. IIRC, the new range models manufactured under the new management start to ship this month and reaction will doubtless follow shortly thereafter.

In fairness, hiring the normally reliable Mark Agnesi from Norm's is a bit of a coup. Shame that the new hedge fund wonks at Gibson decided to put him out there as a bizarre cross between an awestruck muppet and an Obergruppenfuhrer with piles.

That's not Porky Pig. That's an imposter. ^^ This is Porky Pig. He's about 20 years younger and three foot shorter than the bogus Porky. And what's with Axl Rose? He's dropped three decades and fifteen stone from the lardy geriatric last seen out with AC / DC. So two imposters. Someone should f*cking sue someone about this. Edit: ... and the fake Porky's wearing a blue neck tie like some kind of wage slave gimp. The real Porky wears a red bow tie. I'm so furious I could sh*t.