skankdelvar

But they'd never know I even existed, y'see. Blue's not the only one with a flake-o-meter

Flakes are perfectly entitled to play music. Just not with me.

Imgur.

Oh, how true

Thanks, Blue, but it's basically your list with the order shuffled around and a bit of mordant snark thrown in at the end. H'mmm. Mordant Snark... good name for a 60's garage / psychedelic outfit. All Hail The Snark: Milwaukee's hottest new band 1967

Not really, IMO, though I'd do it in a slightly different order. * What's the local band scene like? Anyone out there that fits your aims, likes? * You see an ad. Does the band have a FB page, web site to check out? * Having made contact: Why is there a vacancy? Is there a lot of personnel turnover? * Who gets the gigs? Is there any sort of plan or do bookings just sort of dribble in on an ad-hoc basis * Lights, sound? Who humps it? (preferably not me) Then I'd ask them * How often do they rehearse? Where? * Who decides on the songs, set-list? * How many of the band are deluded fantasists; crazed, talent-less authoritarians; unreliable flakes; burdened with sick or unreasonable spouses? Then I'd do what I always do and tell them to poke it anyway.

My humps are '30-'50 (the country stuff) '50-'63 (the RnB and RnR stuff), '63-'69 (the pop and soul stuff) and '66-'77 for the garage and punk stuff. So, 1930-1977 is one big hump, basically. Good call . Gimme an E, will you?: Tuning up the Einstürzende Neubauten way

Couple of things: * The observation that 1971 may (or may not) have been the year that 'rock' peaked does not impede one's enjoyment of product released in any other year. Indeed, pretty much most of everything worthwhile that's ever been recorded in any year is still available somewhere, so the issue of peak year is pretty much moot in practical terms. Which leaves us with the issue of people feeling vigorously proprietorial about their 'year' or their 'band'; which is subjective rather than objective but that's the interwebz for ya. * Hardly anyone (?) has suggested a 'peak year' preceding 1971. How odd.

Indeed. Daltrey: “I remember my teenage years and they’re the hardest years of your life for so many reasons,” he says. “You’re just starting to think about going out and really enjoying yourself, then a doctor tells you, ‘Sorry, you’ve got this.’ It must be a terrible blow.” “And when a teenager gets cancer, it affects so many people . . . their families, their mates, their class at school.” As for being a 'chav', it's true that Daltrey worked as a sheet metal cutter before The Who took off. But like many young working class people of the 50's and 60's Daltrey wasn't prepared knuckle under to an establishment clique of bourgeois snobs who relished keeping the less fortunate in their place. It's all different now, of course.

Perhaps Mr Daltrey has been reading David Hepworth's book 1971 - Never a Dull Moment which (surprise) asserts that 1971 was the greatest year for rock music. Mr Hepworth's core contention is that '1971 saw the release of more monumental albums than any year before or since' and when one scrutinises the list of albums (and singles) released that year it's difficult to disagree with him. Clearly, this doesn't mean that no significant albums were released in other years. IMO, 1969 was a pretty good year. Jon Savage makes a persuasive case for 1966 as being a pivotal year for pop music. Perhaps one might compromise and say that 1965-1977 were the golden years of rock music as an un-ironic, non-self-referential cultural force. Before then it was all Larry Parnes showbiz pop and thereafter it was downhill into re-cycled posturing for cash with some good music thrown in.

... also when they proudly bought some Marshall VBA stacks which all blew up within about six weeks

Likewise. The various steps and industrial bits nearby were very handy for moody photos, particularly the classic 'up the nose' shot.

Oh, don't get me wrong - I'd be the first to say the purchaser had his chance to give the axe the once-over. Caveat emptor, as I posted earlier. Indeed, were I to sell someone a guitar they'd played and then they subsequently wanted to swap it back because it choked a bit and they didn't like the sound of the pick-ups I'd be inclined to give them the hairy eyeball. What I meant was 60 notes for a bit of low level tweaking reinforces my view that we all need to get a bit handier with the Allen keys.

The last time I saw a performance like that of the poor old gentleman to Jack's left was when we played a bank's office Christmas party. The CEO's secretary who booked us was there to explain that her boss fancied joining us on stage. For the whole set. And he'd already set up his stack. And his pedalboard. And he had some song suggestions. We'd just finished setting up on the periphery of the CEO's square footage when this perfectly pleasant, slightly porky chap wandered over with a PRS round his neck and asked us if we were ready to go? We were and we did. After a couple of numbers I looked round and this chap was pulling all these guitar faces and widdling away like a nutjob - in total silence, his amp being turned to zero. Our guitard looked at me, I looked at him, we both looked at the drummer and we smiled. After we finished he shook our hands, fulsomely complimented us on our playing and asked if we'd like to do it again some time. I said yes, certainly then wandered off to talk to his secretary away from the main party and ended up boffing her across his desk. Funny old world, eh?

So basically the other guy's made a £60 profit on a voided transaction, the 'justification' being a couple of vanilla set-ups. Nice work if you can get it. Really, everyone needs to learn how to fettle their own guitars. It's not difficult; the basic tools are dirt cheap; forums like BC are full of helpful people with bundles of experience; there's tons of information and vids out there; and even a little practical knowledge helps when trying out prospective purchases.

It's one of those songs where a dull thud is one's best friend and a prior investment in foam rubber pays a handsome dividend.

I feel for the OP's mate. Couple of things... * If it's choking out on bends it's just as likely to be the neck relief as the action - best he check this before he gives up. And if it isn't the relief it could just be a high fret. Also, if it's a vintage spec neck the 7.5" board radius will always choke out with big bends up at the dusty end unless the action's jacked well high. * Alder / agathis / basswood? TBPH, it's not going to make a huge amount of difference anyway if it's a multi-piece Squier body. Whther it was ash, alder or agathis most people would have to be have to be a total cork-sniffing tone hound to tell the difference blindfold . People go on about alder and ash but afaich there's not much difference, unless it's a shoot-out between some really light, resonant old swamp ash and some boat-anchor alder. Even then the amp and the speaker make more difference than wood types (as the OP's mate has discovered). * I've done the steel trem block thing on a proper Strat and it made a microscopic difference to the sound - nowhere near as much as the difference between setting the bridge to float and setting it flush to the body. * Final thing: He's gone round, played it and walked out the door with it 'as seen'. Very difficult to turn that one around. The other guy claimed it was an alder body; maybe he genuinely thought it was; maybe he's a fibber; hard to prove either way without suggesting the guy's a liar which isn't going to get the Chapman back. Really, I think he's just going to have to suck it up and put some work into the guitar. Caveat emptor.

"Joe Satriani is a brilliant player, but I never see him really searching for notes; I never hear him playing a wrong note. Jimi Hendrix used to play lots of wrong notes because he was searching all the time—'Where the hell is that correct note?!' And when he did find that right note—wow, that was incredible. "If you're always playing the correct notes, there's something wrong—you're not searching, you're not reaching for anything. But that's not to say that he isn't a very brilliant player. Same thing with Steve Morse—fantastic player. Nothing particularly controversial there. Complements Satriani and Morse (and Hendrix), expresses preference for intuitive approach to soloing: "Certain people play from the heart and other people play from the head. I prefer a heart player". This is all pretty basic stuff and I don't understand why people all over the web are getting upset about it; I suppose it's because they read the headline 'Blackmore disses Satriani' and feel obliged to pick a side. For myself, neither Blackmore nor Satriani are in my personal Top 10; but then my personal Top 10 includes Hasil Adkins, Link Wray and Dave Davies so technique tends not to figure.

Black metal. Or folk. Or black folk metal.

In fact, the Vienna Mozart Orchestra dresses up like Mozart (see post above) and performs only his work. The Bach Ensemble was formed in 1978 by the esteemed Joshua Rifkin, plays Bach almost exclusively and has recorded only the works of Bach. Indeed, in the geographic home of the tribute act The Haydn Orchestra of Australia hews pretty closely to his works but occasionally chucks in stuff like Boccherini to sweeten the pot. The list goes on... In fact, it's a pretty established tradition among jobbing classical musos to form scratch bands with rotating personnel and to name the aggregation after certain well-known composers; to begin by performing a mixture of that composer's faves and rarities and then - when the steam starts to go out of it or they've made their name - to start throwing in music by the composer's contemporaries. On the other hand, you get outfits like the Bach & Beethoven Ensemble of Chicago who go off the rails and don't perform anywhere near as much of the eponymous composers' work as one might expect but instead branch off into commissioning new stuff and generally being a bit arty-farty in the community (the better to score donations from charities, quangos, philanthropists, I suppose). So - within classical music - there's a clear and living distinction between 'function bands' that play a mix of well-known covers (the LSO, The Berlin Phil) and sort-of-tribute bands such as those mentioned above. Then there are era-bands like the Academy of Ancient Music or The Consort of Musicke or The Tallis Scholars who roughly equate to I ♥ the 80's acts. New original music is regarded as terribly worthy but not as good at putting bums on seats as a programme of old chestnuts, unless it's ghastly pabulum by the likes of Einaudi and Karl Jenkins as hawked by Classic FM in between the good stuff. In fact, the more one thinks about it, the more the classical world and the pub music market come to resemble each other with the financially-driven need to pull audiences in with the offer of familiarity and / or focus.

Copied to BC Famous Quotes thread. Laydeez'n'Gemmun, we have a new record for fastest newb into FQ's. Kudos.

A House In The Boonies / S13 Ep4 / Wales Final Broadcast Transcript Run Time 29’:22” Pre Creds: Presenter (Wendy) to camera “This week we’re in Wales helping Ron and Marjorie to find … A House In The Boonies” Opening Creds – Theme Music: ‘Plinketty Plonk’ Scene 1 – Establishing segment Wendy to camera: "Ron and Marjorie Blart currently live in a poky, condemned one bedroom flat in London but hope to exchange it for a gigantic mansion in Wales possibly with turrets. Ron’s a retired astrophysicist and Marjorie’s a lion-tamer so they need some land for Ron’s collection of radio telescopes and an enclosure for Marjorie’s pride of lions” Shot of lions ripping zebra to shreds – Incidental Music: ‘Banjo Breakdown’ Wendy smarming to camera: "So how did you two love-birds come to be married?" Ron and Marjorie to camera, holding hands: Incidental music: ‘Disco Love Theme for Ukulele” Ron: “We met when Marjorie’s circus came to perform at Jodrell Bank. It was love at first sight” Marjorie: “I’d never seen a little man with such a huge telescope” Music stab: ‘Trombone Wah-wah-wah descending’ Wendy: So what’s the most important feature you’re looking for in your new House In The Boonies? Marjorie: The master bedchamber must have have lots of light. And I want a snug little room somewhere to do colonic irrigation. It's a hobby of mine. Ron: I’d need an absolutely stable gravitational environment with no electro-magnetic eddies… Wendy: Right… Ron: … but it’s not a big issue as long as Marjorie’s lions are happy. Particularly Rex… Marjorie: Yes, Rex. Rex is a bit picky. Wendy: (simpers) Well, we’ll be looking at three luvlay generous properties after the break Break Bumper Music: ‘Pizzicato Plonketty Plink Plinketty Plinketty Plonk’

My contempt for the facile, simpering jauntiness of daytime TV incidental music is utter and complete. Were it possible to enact without risk of penal servitude a savage, physical retribution on the gurning halfwits who manufacture these odious 'programmes' I should proceed accordingly and with gusto. Faugh!

The OP asked: How do you change YOUR sound from your bedroom to your practice room? When I said: Live band: Mids-boosted clank, leave everything under 100hz to the kick drum I wasn't offering this up as a rule or even as a suggestion - it's just a brief summary of how I change my sound. Other approaches may give equal satisfaction, tone being a subjective thing up to a point

Vienna Mozart Orchestra Wig-bedecked tribute act. Will accept payment in cake, prefer Sachertorte London Mozart Players Cover band (actually look more like a function band) Barry Gosser Mozart impersonator and pervert