skankdelvar

[quote name='Rich' timestamp='1440513934' post='2851413'] You do realise they don't drink [i]proper[/i] beer over there, don't you? [/quote] Dear boy - Milwaukee was the home of American brewing. Pabst, Schlitz, Miller and Blatz all started in that fair city though only Miller remain (iirc). In its day, Milwaukee probably produced more beer than anywhere in the world and even now, Wisconsin boasts an enviable roster of brewers large and small. I would imagine one could find a decent brew if one tried. Fact: To this day the city's [s]rounders[/s] baseball team is known as the Milwaukee Brewers.

[quote name='JJW' timestamp='1440511434' post='2851376'] I have got a bass for sale on eBay at the moment and I know how to pack it and everything like that but I don't know actually what to do after that, I don't think I can just take it to the post office can I and what will be the cheapest? [/quote] Indeed you [i]can[/i] take it to the Post Office. Ask the nice lady behind the counter to quote you a cost for sending it Parcelforce and they will happily oblige. If the cost meets with your approval you pay them and they will open a little hatch in the window and put the box with all the other parcels out the back. I've done this loads of times and never had a problem. It's usually cost £25-50 depending on the speed of delivery one requires. The downside of Parcelforce is their limitations and exclusions on the insurance of musical instruments in transit. This has not proved an obstacle for me in the past, though I might have reservations about putting any [i]very[/i] high-value instrument into the hands of [i]any[/i] courier. In some instances it may be cheaper and safer to drive the item oneself to its destination if it's within motoring distance.

Y'see, I don't have a problem here. My understanding of what Blue's saying is: '[i]The contention is that the Beatles had (or did not have) a considerable influence on contemporary music and culture. When assessing the band's impact [/i][u]at that time[/u][i] a first-hand experience of events confers a certain authority of viewpoint denied to those who by reason of their youth may only draw their understanding through third-hand reports[/i].' Frankly, Blue is correct in his perfectly logical assertion. And were it possible I'd love to buy him a beer and hear some stories about musical life in Milwaukee back in the 60's. Instead of which I'm sitting here watching a small group of 'opinion vigilantes' trying to browbeat one of the few [i]interesting [/i]people on this forum into retracting an opinion which is hardly going to bring society to its knees. Many seem to be asking indignant and slightly whiny questions on the lines of: 'Are you saying me and people like me can't I have my opinion?' To these members I would say this: 'You all know full well you can have an opinion - but for some reason you won't let Blue hold an opinion which carries somewhat more weight than most. Some of you are mischievously misrepresenting his position in an attempt to foment ill-feeling for purposes of petty self-aggrandisement. 'You're being rather silly and spiteful. Best you go and sit on the naughty step to contemplate your foolishness'.

Ta for the link, Sir. Splendidly written article, lots of detail and very illuminating. Seems the Jersey Evening Post can turn out a piece to rival Rolling Stone

[quote name='spinynorman' timestamp='1440344746' post='2849961'] The way I read it, the OP feels being born at a particular time and growing up with a particular set of musical influences gives him some kind of unique authority in popular music, which he has difficulty getting other people to acknowledge. Having been born at the same time, growing up with the same influences, albeit in a different country, I can fully understand why later generations wouldn't find this idea very engaging at all. [/quote] Well, if the OP being born at a particular time gives him an authority to comment on the Beatles' impact o popular music, who are we to gainsay him? Lots of people think lots of things but frankly it's immaterial whether I find their ideas engaging. Their appreciation of events or issues may be at variance with mine - and that's a good thing. I don't mind what people think, except when they think that it's necessary to challenge someone's opinion [i]because[/i] it's not 'engaging'. The problem with this thread and the Keef / Pepper thread is that various individuals (not yourself ) are getting all 'How very dare he?' as if holding a firm opinion is [i]a bad thing[/i] and that the proponent of any such opinion should apologise and issue a correction. I suppose my point is that this is a discussion forum, not a court of law where someone's on trial for a misdemeanour. Though it seems it may as well be, if some had their way.

Never tried a Stomplab but I used to use a Johnson J-Station then moved onto a Pod. Plenty of cheap s/h examples of those out there. Thing was, I found software amps more useful in the sense that one could profitably dick around with them in the mix, rather than be tied to a pre-recorded tone. Faced with similar problems to yourself I discovered that one way round the latency issues was to reduce the number of instances of reverb. Rather than have a reverb on every track or even just on each of the instrument busses I decided to reduce the load and go old school, running each track (if neccessary) out on auxes to just [i]two[/i] reverbs: * A plate sim for specific things like vocals and snare * A smidge of medium sized room for pretty much everything else - just to add a bit of 'air' to proceedings I'd render everything down and save it as a 'master mix'. Then I'd open the stereo file in the DAW and apply some 'mastering' effects, including a further smidge of reverb to put some fairy dust on it (if needed). Obviously one doesn't get quite as much control over each track's reverb but it saves a lot of processing headroom. Not the answer you were looking for but it might save you £44.00

The [i]disappointing[/i] thing for me is the number of people who take a bit of trivial internet banter so damn seriously as to feel the need to 'challenge' Mr Blue's opinion in strenuous and somewhat personal terms. I mean, do these chaps think that a grateful public (comprised in the main of mortally affronted 'young' people) will erect a statue to them, the plinth whereunder might bear the simple inscription '[i]He Fought For The Truth[/i]'. Actually, it's not disappointing. It's dispiriting. And very dull.

The ideal combination for me is an extended 'hard rock' intro with a pedalled open string and a Gregg's chicken pasty (one of the flat ones). Do not eat straight from the microwave as the pasty may be very hot and could cause injury.

More or less the same post that has already appeared three times on the forum over the last while. Just posted in a different section of the forum. Interested applicants should carefully scrutinise the terms and conditions of events such as these. While they may promise 'exposure' there may also be contractual issues which some might feel could disbenefit a band. In the case of the Thunder Valley Rocks proposition I understand that participating bands: i) Are encouraged to bring '[i]at least'[/i] 50 fans, each of whom will be required to pay an entrance fee of five pounds ii) May be required to agree to further unspecified contractual relationships with the promoter Not that any of this is necessarily a [i]bad [/i]thing or a rip-off or pay-to-play or a 'vanity gig' exercise. But it always pays to check the small print before signing up to anything like this.

Why don't we do it in the road?

Riders like free beer are useless unless one is prey to the delusion that one is a 'star'. Always better to have the cash in one's pocket. Imagine it being the other way round and one walked into a pub, ordered a big round then offered to pay by performing an accapella rendition of 'Danny Boy' or possibly 'Sex On Fire'.

If ever two songs sounded eerily similar it would be 'While My Guitar Gently Weeps' and 'Babe I'm Gonna Leave You' (off LZ1 and recorded about a month later in 1968). The [i]less [/i]eerily similar 'In a Broken Dream' was recorded about 8 months later in April 1969 with Rod Stewart on session lead vocals. Stewart re-recorded the song in 1992 with John Paul Jones on bass... [size=3][i]Edit: Rest of utterly pedantic post removed. Far too dull.[color=#ffffff].[/color][/i][/size]

Seems to me certain posters are taking Mr Blue's position [i]vis a vis[/i] Pepper and young people far too seriously. To find evidence of a 'bad attitude' or to attribute a definitive 'rightness' or 'wrongness' to such insubstantial matters is to miss the crucial point. Which is that Keith Richards is universally correct about [i]everything[/i] yet can simultaneously be wrong about [i]something. [/i] For decades contradictions of this nature have excited physicists on the grounds that one such anomaly might be harnessed to provide infinite amounts of clean power, this to the greater benefit of mankind. To cavil and snipe around the issue is merely to stand in the way of a brighter future for humanity. I hope these naysayers can live with themselves when they see pictures of the wee, starving tots who might have been saved by the Richards' Paradox had the matter not been occluded by petty issues of personal animus. Have we no shame?

[quote name='Happy Jack' timestamp='1439633592' post='2844521'] Just don't get me started on Lord Peter Wimsey. [/quote] Carmichael or Petherbridge? Only one way to find out... Wimsey Fight!!!

[quote name='blue' timestamp='1439503755' post='2843495'] This what I always tell young people when they give a negative opinion on The Beatles; [i]" You weren't there, so you don't have a valid or credible foundation for your opinion, saying you don't like them means nothing"[/i] [/quote] I'm sure 'young people' wouldn't like you for saying that. But who cares what they think? Your observation is factually correct and anyway, young people mostly know nothing about anything so they're hardly likely to know [i]anything at all[/i] about the impact that Beatles had on wider society unless they trouble themselves to read about it which is doubtful, being as young people seem to do nothing but text their friends and tweet their most recent thoughts on the lines of: 'Saw a cloud. Felt sad. Saw the sun. Felt happy. Share this!'.

[quote name='Old Man Riva' timestamp='1439419851' post='2842820'] Tootal scarves are the best. I have a deep red one with blue paisley pattern, and a vibrant yellow one, again with blue paisley. Not silk, mind. Both vintage and made in England of a rayon mix. That said, they should be treated as silk when cleaning. Such a lot of things to consider for such a simple item. Dandy-tastic.. [/quote] An impressive assemblage. I possess a red Paisley Tootal cravat and a green Paisley Tootal scarf, both of which belonged to my grandfather. Though he was a factory worker he was also quite the dandy as a young man, sallying forth of a night in full evening dress and carrying a silver-topped cane. It was different back before the Great War...

The gentleman bass player eschews scrunchies in favour of a smart [i]foulard[/i] or - in extremis - a Tootal cravat in a fetching paisley pattern.

Depends what they're going through. One guy I knew put a lovely R59 through a Tiny Terror and a 2x12; despite much knob tweaking it only ever produced a fuzzy mush that was completely lost in the mix. On the other hand, a good Lester through a grumbling JMP Mk2 or a Bluesbreaker can exert disproportionate control over proceedings

[quote name='TimR' timestamp='1439394932' post='2842459'] That sounds similar to my O'Level music composition where I used our Hoover and kitchen blender to great effect. Alas long before sampling came along and ruined the creativity. [/quote] Quite so. Some people think that one might 'turntable' a piece such as mine. Which proves how far artistic standards have fallen since our days at the conservatoire. It really is appalling.

[quote name='ambient' timestamp='1439386878' post='2842371'] Too many people listen to music with their eyes, rather than their ears. They see an instrument and have a preconceived idea regarding what it's function or sound is going to be, or should be. [/quote] Then you will be entranced by my soon-come Suite For Plank and Ball-peen Hammer provisionally entitled 'We've Got The Builders In'. It is a work for music and words wherein I myself perform the music and provide the accompanying narration. Here is what young people call a sneak peek: Bang! Bang! "Fakking Gunners sh*te or what?" Bang bang bang! "Wenger? What a fakking kant" Bang bang! "Gary! Gary! Gary! Yew ear wot I fakkin' said? Wenger. Kant!" Bang bang bang bang bang bang! Everything is art, you see.

[quote name='Ancient Mariner' timestamp='1439307042' post='2841748'] What is presently in there? Eminence 'made for Fender' with square magnet? I can't recall much about the G12-80, other than (IIRC) it was a lower cost high power handling speaker - probably a bit of a blank canvas than having a particular character. [/quote] Pretty sure I had one of these g12-80's in a Rivera R55 a while back. Blank canvas is a very apt description; I suspect Rivera used this speaker because it could unobtrusively handle the (over) wide range of sounds designed into the R55. Something that's intended to do 'relaxed Jazz comping' right through to Mesa-ish djent probably needs an 'unflavoured' speaker. In the OP's context the G12-80 will provide a good basis for comparison [color=#ffffff].[/color]

[quote name='JapanAxe' timestamp='1439314856' post='2841852'] On behalf of the Church of Basschat, [i]absolvo te[/i]. [/quote] Hail Mary, full of grace. Our Lord is with thee. Blessed art thou among women and blessed is the fruit of thy womb, Jesus. Holy Mary, Mother of God, pray for us sinners now and at the hour of our death. Amen. (Rpt x20)

As a bassist who started out as a guitarist and as someone who also plays blues rock from time to time I would like to apologise for my mongrel musical background and for my lamentable taste in music. My inferiority is obviously inherent. I'm so sorry. I'm so [i]very[/i] sorry. I'm so very[i] f**king [/i]sorry.

Fair do's on the money front. Perhaps you need to fire someone from the band and recruit an individual who has access to a van. It's the time-honoured strategy and works a treat. Rock and roll is a cruel mistress.

In the medium term I'd learn to drive, make my band mates buy some gigworthy kit and be prepared to share gear if it's offered. Then I'd buy a cheap beater amp head for gigs like this and offer it up if it was needed. Also, I wouldn't expect a promoter to hire in a full back line for a multi-band local 'unsigned' gig and I would consider being at the mercy of everyone else to supply the means for you to perform as being something of an obstacle to the band's full potential. Frankly, the promoter is doing what most promoters do which is to be vague and flaky about back line. Most people get over this problem by bringing some kit along and leaving it in the car / van if its not needed. Sadly, this option is not open to you. Anyway, good luck with the gig. I'm sure it will go fine. :-)