skankdelvar

Once in 40 years. The breakage occurred around 1974-5 and the string was probably a Rotosound as that was all they had down the local music shop in those days.

Sorry for the break in transmission to anyone who ventured into this thread. Total cock up on the embedding front.

And not just Glam Rock but specifically the sub-sector occupied by bands like Slade and The Sweet. Young Italian chaps are banding together to dispense stomp-tastic early 70's style crowd pleasers. [media]http://youtu.be/jYJQwUEg6D8[/media] [media]http://youtu.be/-EUdbaUdPlM[/media] [media]http://youtu.be/28wL4Jvq2k4[/media] And it's going global, apparently. Bands springing up in the USA and Oz. More here: [url="https://www.theguardian.com/music/2016/aug/18/giuda-bovver-rock-interview"]https://www.theguard...-rock-interview[/url] [color=#ffffe0].[/color]

Quality piece, Dave. Good luck with the gig!

[quote name='Jazzneck' timestamp='1470820091' post='3108660'] And the best of the lot - Hound Dog Taylor and The Houserockers: [/quote] Quite so. Mr Taylor's oeuvre suffers in no way from the absence of a bass. IIRC, in the early-mid 1950's Jimmy Reed, Little Walter, Muddy Waters, Elmore James and a host of other name Chicago R&B artists at times dispensed with the services of a bass player and employed a second guitar to deliver the low-end shuffle. Their output didn't seem to suffer. [color=#f0fff0].[/color]

[quote name='BassTractor' timestamp='1471345470' post='3112277'] I'm deliberately avoiding posting a picture of the dansband band Gert Jonnys. [/quote] Much appreciated. A virtual fiver is in the post.

I suspect that for most of us a Dumble would be the very embodiment of the law of diminishing returns. From the necessarily degraded internet audio clips I've heard, Dumbles do not [i]seem[/i] to stand so far ahead of other amps to justify the eye-watering cost. Whether the expensive clones or sim pedals provide a cost effective way of getting close is open to debate; for who among us could really tell the difference. TBPH, I'd rather spend the money on a range of tasty amps with differing core tones: an old AC30, a Plexi, a nice JCM800, a Tweed something, a slew of Brown- and Blackfaces and some high gains for 'chunk' and Djent.

Good to hear you're back in the saddle, Bob, and having a good time. One of the tidiest little combos I ever saw was two chaps in a Soho boozer; knocking out hoary old standards with great brio and [i]élan [/i]over some minimal backing, drums and a smidge of keys pads. The room was rammed and rocking; the tourists were stuffing banknotes in the tips jar; some local working girls were upfront, jiggling wildly in an excess of enthusiasm. 'Now that's a gig I'd like,' I thought.

[quote name='blue' timestamp='1471118264' post='3110696'] We're a bar band, but the term is misleading. It doesn't mean you play bars exclusively. We play a lot of fairs and festivals in the summer. Bar Band has more to do with the genre of music you play. The Stones are a good example if a bar band. [/quote] Ah! It's all beginning to make sense now. The term 'Bar Band' might describe a band playing in a bar but - unlike 'pub band' - also extends to a specific genre. Would I be right in thinking that 'Bar Band' material would be a sort of mix of blues and rock, some covers, some originals? [quote name='Rich' timestamp='1471114681' post='3110667'] Yeah, but nothing he ever said was worth reading anyway [/quote] May the Lord have mercy on your soul! Inti was a complete hoot; I laughed till I cried at his posts. In fact, we should have kept him around for another week or two, just for the fun of it. Never known a chap sound so much as if his head were about to explode.

[quote name='stingrayPete1977' timestamp='1471104766' post='3110578'] Careful skank, it takes dad ages to type that long post about the village fete and his radishes need watering! [/quote] [size=3][b]Raphanus sativus:[/b] Over-rated, tetchy[/size] The radish is a temperamental little Brassica with - in my opinion - very little going on in the taste department. In terms of effort vs return the radish is far surpassed by the asparagus, the globe artichoke or even the humble courgette. Perhaps it's different in France. '[i]Que ces radis sont savoureux! Zut alors, sacre bleue, nom d'un nom nom nom![/i]'

[quote name='Rich' timestamp='1471101399' post='3110555'] This would be a "the old" that exists purely in your imagination then, because never in all my years here have I seen anyone even [i]suggest[/i] that playing as a hobbyist/semipro/part-timer makes them better than a pro. [/quote] Never? I'm astonished that former member Inti has passed so swiftly from the public consciousness. IIRC, he boiled the concept of playing for money rather than artistic or personal satisfaction down to the noun 'clownwhore', a term which enjoyed brief popularity as a forum meme. And while the money vs satisfaction / covers vs originals furore lies very much in the forum's distant past I recall a number of people who (if not as aggressively as Inti then at least by subtle implication) suggested at the time that they occupied a musically higher moral plane by virtue of their rejection of shallow remuneration. As a forum, we are past that troubled stage only because many of us openly rejected the concept of Art vs Money as sheer idiocy and saw the silly buggers off, yes, we did.

[quote name='SpondonBassed' timestamp='1471068421' post='3110284'] BWHARHARHARHARHARHAR! Sorry about that folks. When I looked up the slang definition behind "plating" (cheers Skankdelvar) I realised my understanding of the word fellatio was flawed. [/quote] That exposition be better served, it should be noted that the term is generally applied to an act conducted by a gentleman upon his lady friend, much as one might in comic exaggeration take one's dinner [u]plate[/u] in both hands, hold it before one's face and engage in close osculatory communion the better to consume any residual foodstuffs, e.g. runny egg yolk or pasta sauce. I hope my clarification serves. [b]Sidebar:[/b] Should Mr Adam Clayton be reading this post please be aware that your wife would like to know if you're going to be in there all day as she would like to avail herself of the facilities. That is all.

[quote name='SpondonBassed' timestamp='1471009427' post='3109977'] Heeheehee. Careful now we might have to get Rolf Harris on tour with U2 plating the Stylophone! You'd see some haters then man. [/quote] Rolf Harris [url="http://lingodictionary.com/slang-definition/9745/slang-definition-of-plating"]plating[/url] a stylophone? I'd pay money to see that. [quote name='Rich' timestamp='1470954821' post='3109669'] No, that's the signal path for the kazoo. The washboard's has four tubescreamers and a Mu-tron. [/quote] Ah, you too have heard U2's unreleased 'acoustic' album: Bono: Vocals, kazoo, jaw harp Edge: Ukelele Mullen: Washboard, castanets Clayton: Inner-tube 'diddly bow'

[quote name='SpondonBassed' timestamp='1470939660' post='3109528'] If there HAS to be a fifth member, I'd like him/her to play the washboard. [/quote] ... through a KORG SDD Digital Delay (i) > Korg SDD 3000 Digital Delay( ii) > Line 6 DM4 Pro > TC 2290 Digital Delay > TC 2290 Digital Delay > Line 6 Pod Pro > Korg A3 Multi Effects > TC 2290 Digital Delay (E) > TC 2290 Digital Delay (F) > KORG A3 Rack Multi Effects Unit > Eventide H3000 Harmonizer >Lexicon PCM80 Digital Effects Processor > Lexicon PCM70 Digital Effects Pro > Backline and DI [color=#ffffe0].[/color]

[quote name='machinehead' timestamp='1470932705' post='3109463'] Ah but.. the Edge came up with a playing style that no one else was doing or had done before. Back in the 80s most guitarists were imitating him and his style is instantly recognisable. How many players can claim that? Very few, I'd suggest. [/quote] Quite so. The very nature of Mr Edge's innovative approach practically [i]demands[/i] a solid and sober foundation. When one considers in turn Mr Bono's deliberately loose vocalisations one begins to understand why the rhythm section more or less 'sits on it' while the guitarist and singer wander off all over the place. One of those great 'What If's' is what if U2 had been a five-piece with a rhythm guitarist? Let us call him Flann O'Brien. Would Flann have gone the Rick Parfitt route and simply whacked out block chords on the four, thereby permitting Mr Clayton to drift around in a Phil Lesh stylee? Or would Flann have espoused a looser, more exotic, even funky approach and drawn black looks from Mr Edge? We shall never know. All we may conclude is that U2 are a fairly unique sounding band and that the bass player is (probably) doing exactly what is necessary in that context. This is the problem when we try to evaluate bass players in isolation or stack them up against others. Comparison is not only odious but fruitless. [color=#f0fff0].[/color]

It is strange that so much narrow-minded belligerence is directed at Blue simply because he has a more selective date range of influences and dares to admit as much. For his behaviour is unexceptional and in line with most normal peoples' experiences. Research conclusively demonstrates that in Western society one's personal tastes begin to solidify in one's teens, accrete through one's 20's (as do the layers around a pearl) and tend to be firmly set by the age of about 35. Thereafter there is no innate, physiological, psychological or legal requirement that one continue to evolve one's palate beyond this point. It is simply a matter of choice or availability. ([i]Note to self: Whatever happened to Spangles?[/i]) Some (like Blue, me and many, [i]many[/i] others) are happy to continue to engage with that which we already know. A minority may follow the path of eclecticism; I would heartily encourage them in their search, particularly if it is a means of coping with old age and imminent mortality. It would however be nice if the 'adventurous' few could extend their broad-mindedness to incorporate the more commonly-held acceptance that other peoples views, tastes and choices may differ from one's own yet be in no way inferior. [color=#f0fff0].[/color]

[quote name='4stringslow' timestamp='1470860818' post='3109065'] My take on this is that when people hear a song they know, they actually hear their memory of it. [/quote] I think you've nailed a whole world of covers threads there. As for the OP's specific question, yes, it's only us who notice.

[quote name='blue' timestamp='1470771242' post='3108371'] No hate, however when your my age, these guys are not relevant to me. The guys I like and have influenced, me cone out of the 60s & 70s. [/quote] Same here. Nothing much does it for me after 1980. Moreover, I'm perfectly relaxed about my musical tastes should anyone feel the need to 'put me right'

I could never [i]hate[/i] another musician because of his performance techniques. I might lure him to a deserted warehouse and shoot him in the face but I'd do it with love in my heart.

[quote name='tauzero' timestamp='1470750819' post='3108148'] Can anyone else who's met Adam Clayton come in with the casting vote please? [/quote] I haven't met Mr Clayton but I saw him coming down an escalator at Earl's Court one time. As he descended he seemed to be staring blankly into the upper middle distance which I suppose some might interpret as being 'aloof'. OTOH it's entirely possible that Mr Clayton suffers from very poor eyesight and his optician isn't up to the job. Lovely frames, shonky lenses, mayhap?

[quote name='mentalextra' timestamp='1470416550' post='3105901'] Nice 'French' villages? [/quote] Lovely French villages, preferably without any French people in them. To paraphrase Bishop Heber: '[i]France; where every prospect pleases and only man is vile[/i]'

[quote name='4stringslow' timestamp='1470412273' post='3105871'] If you think the current situation is bad, wait until we have negative interest rates . . . . [/quote] Quite so. But if interest rates go [i]up[/i] then everyone with a mortgage will be hoyed into penury, loans for business will become more expensive, the economy will collapse and we'll all be murdered in our beds. It's probably for the best if we don't have interest rates at all. [i](Sticks hands in pockets, awaits arrival of Dad3353 bearing proposals for 'villages')[/i]

[quote name='Billy Apple' timestamp='1470336275' post='3105297'] How do solid state amps have parts that will never wear out? [/quote] The answer is that SS amps [i]do[/i] have moving working parts that may wear out though these are usually the easiest ones to replace or fix. It's the immobile working parts that cause the biggest repair headaches afaics. Anyhow, 'recently serviced' is simply the seller's tacit affirmation that the amp is in working order while avoiding any contractual oo-ers should said amp fail in the future, near or otherwise.

[quote name='Misdee' timestamp='1470308825' post='3104928'] I too have absolutely no desire to get involved in a political discussion - I'm way past saturation point with all this Brexit business - and as someone else has pointed out, that horse has already bolted. The fact is that the pound will not be recovering to pre -Brexit levels any time in the foreseeable future, not least of all because many in the financial markets believe that sterling was grossly over-valued for most of the last 35 years. They would see the current exchange rate as a far more accurate valuation of the pound, especially in relation to the US dollar. This is significant for the price of musical equipment not just from the USA but also from the Far East, where trade with the West is usually conducted in US dollars, regardless of the final destination of the goods. The big question is whether, in the longer term, manufacturers will have to rethink their pricing structures for the UK market. Conceivably, there may come a point where American guitars become priced out of the market in Britain and sales fall off drastically. Companies like Fender will have to make a decision whether to cut profit margins or see their sales dwindle, leaving them with 100% of nothing. I am brassed - off myself because I've been saving for a new MM Stingray and now can't even bring myself to find out what the post- Brexit prices are. My only hope is that Sterling Ball takes pity on America's closest ally and cuts us a special deal. I am not, however holding my breath! [/quote] Nice analysis, Sir. IIRC, the IMF has for some time believed that the pound is overvalued. That august body recently suggested it would be better for the British economy were sterling to fall some distance below $1.30. We may therefore anticipate further currency-related price rises over the next while.

I don't know much about either of these players; but I think that short of having specially tailored lessons the key to copping someone's style is to gather as much written and musical information as one can. Then immerse oneself in the artist and their output, try to understand their approach and incorporate it into one's own. Seek out published interviews, youtube clips, tab, notation, equipment lists and - of course - a representative selection of their recorded music. Once that's together just sit and read and watch and listen. Allowing for the interruptions imposed by a normal working lifestyle, this could take days or even weeks. Learn everything you can. Listen to songs over and over again. Having got a general feel for what they're doing go deeper and try to identify the artist's approach to supporting songs; what they do when faced with different tempos and chord progressions; their choice of notes; the phrasing of the notes including things like placement, attack, duration. Nail down what it is they're doing. During this phase you'll identify some of the things that make them sound different to other bass players - personal mannerisms, for want of a better description. Now find some bass-free loops or backing tracks that fit the genre and play along with them, constructing bass lines that incorporate some of the stylistic traits you've identified. If possible, record your efforts and review them. Try putting the mannerisms you've learned into different songs and contexts. Try breaking each of the mannerisms down into smaller components, jumble them up and put them back together again. Once you've got this stuff under your fingers go right back to the start. Watch and listen to the original music again. Now you know what he's doing on the bass, listen to it in the context of the song. Keep this up for long enough and you'll absorb the key characteristics. Then - when you're next faced with the need to construct a bass line for a song - think about how much of the artist's style you want to let bleed through. The other thing: don't try to learn Hook and Raven's styles at the same time. Nail one, then move on to the other. Step one: Google [url="https://www.google.co.uk/webhp?sourceid=chrome-instant&ion=1&espv=2&ie=UTF-8#q=peter%20hook%20bass%20style"]Peter Hook Bass Style[/url] Enjoy and good luck.