PaulWarning

[quote name='FinnDave' timestamp='1491645342' post='3274501'] John Lennon?? Thought it was originally sung by Ben E. King, and written by him with Leiber & Stoller. Unless there're two song with that name. [/quote]Lennon covered it on his Rock and Roll album, think he had a hit with it as well

[quote name='Hobbayne' timestamp='1491607896' post='3274348'] The stereo mix was an edit of takes 16, 17 and 18, and contains a vocal error in the final verse, causing Lennon to sing "come on" with a slight laugh. The mix also has a slightly different guitar line by Harrison prior to the final verse. Read about it on here... [url="https://www.beatlesbible.com/songs/please-please-me/"]https://www.beatlesb...ease-please-me/[/url] [/quote]Cheers, I'd not actually seen this article though I did find one similar after my initial post got me curious, seems like a bit of dogs dinner doesn't it? why use a take where there's a mistake in the vocal line, if stereo meant so little to them why go to all the trouble of using a mish mash of 3 takes? curious

on Please Please Me (the song) in the stereo version Paul starts singing the last verse wrong, but on the Mono version it's correct so they must have used different takes, but the story goes they could only get one run through of Twist and Shout because John's voice had about had it, so I'm confused, unless they used the single recording of Please Please Me on the mono LP, perhaps some Beatles expert could enlighten me, definitely Mono and Stereo (of sorts) though, Edit, mono sounds the best though (IMO)

just to resurrect an old thread, just bought an early 70's MIJ Columbus P off ebay and I get a lot of hum/buzzing when using a cable but it nearly disappears when using a wireless system, I've checked the earthing to the bridge and pots with a multimeter everything seems to be earthed, knackered pickups?

[quote name='Lozz196' timestamp='1491512909' post='3273692'] Love that 1st Clash album. Although they did record many great songs moving forwards, imo they also recorded some real rotters as well, whereas the whole of the 1st album is great - do wish it was slightly better produced tho. [/quote]compared to Crossing the Red Sea with the Adverts it was a master class in Hi Fi production

strangely although I was into punk from the start I never got into the Clash till a few years later, still don't know why, cracking band and a great debut LP, as was the next one, London Calling was a tad too eclectic for me

[quote name='wateroftyne' timestamp='1491471313' post='3273243'] Remastering & re-releasing isn't going to go away - it's an important part of keeping the music alive for new generations to discover. The alternative is original mixes languishing on the shelves, with nothing new to say about them. These re-issue programmes light the fire under them, and get them back in the public eye, giving people jobs in creative, marketing and technology sectors. Not keen on them? Walk away. [/quote]there is that, if you've not got the originals, great, but I just think they're exploiting the loyalty of diehard fans and completists, but hey, like you say nobody forcing people to buy them, and like high concert ticket prices if nobody bought them things would soon change, look how CD prices have plummeted since digital downloads started

[quote name='mikel' timestamp='1491470584' post='3273234'] That whole "Remastered" thing is a big no no for me. I have been replacing some of my vinyl and the new pressings of some of the 60s and 70s stuff is re mastered, or in Stereo? I want to replace the original albums so I have trawled the vinyl stores and come up with some of the originals in great condition. Just because the technology exists to re master something or make it faux stereo is no excuse. Put old recordings onto the modern playback mediums by all means, but dont mess with the original performance/recording, its a bit of musical history. [/quote]remastering is just a way of ripping off the fans really, but, the bass does seem louder, on the remastered Beatles and Clash anyway

cheers guys looks like normal business practice then, I always think it's a bit shady when someone asks for all the money upfront

[quote name='BigRedX' timestamp='1491467060' post='3273196'] Media Hut were one of the companies we used who had poor transit packaging. Luckily for us, because we went for something a bit more fancy instead of standard sleeves which we did ourselves, only the inner paper sleeves were damaged and required replacing. Had we gone for standard printed sleeves, the whole job would have had to be reprinted, as not a single box escaped some degree of damage. [/quote]cheers, forward warned is forearmed as they say

[quote name='BigRedX' timestamp='1491465472' post='3273177'] Yes it is. I've done a lot of CDs and Vinyl (and cassettes) over the past 10 years and every single supplier I have used has demanded payment up front. Who are you using for your vinyl production? One thing to watch out for is, vinyl packaging for transit is very poor, and the last two deliveries I have had contained damaged items as a result. Make sure that someone from the band is available to receive the records when they are delivered and has the ability to photograph them if necessary. We complained both times about the poor packaging and got replacement paper sleeves and some money refunded to cover the costs of repacking the vinyl with damaged sleeves. [/quote]we're using media hut, thanks for the heads up on damage, should be well delivered they're charging us £50 for it!

[quote name='Dan Dare' timestamp='1491410159' post='3272840'] FM still does bass. DAB loses a lot of the bottom octave due to lousy bandwidth. [/quote]can't really agree with that, I listen to Gold Radio in the car and the bass cuts through better than any station I listen too

[quote name='mikel' timestamp='1491409210' post='3272825'] What still gets me, even now, is the vocals on the original mono recordings. They jump out of the speaker/s. For want of a better word they have huge amounts of heft. The sheer jump up and down excitement of "She Loves You" blasting out in mono is still a joy. I saw the film and it simply proved they were an awesome live band, even though they could not even hear what they were playing as individuals never mind as a band. The audience could also hear bugger all with all the screaming, so its no surprise they packed in live gigs. Could you imagine even a semi pro band now playing "Blind" as it were, without any monitoring or being able to hear the vocals? How far through the first song would they get before it all fell to bits? [/quote]yes I was struck how accurate the harmonies/vocals and playing in general was, mind blowing really when you consider they couldn't hear a bloody thing, suppose that's what doing 12 hour sets in Hamburg does for you

[quote name='uncle psychosis' timestamp='1491404844' post='3272775'] I saw the film the other week and really enjoyed it, and I say that as someone who is quite cynical about the whole Beatles phenomenon. For me the early years is the really interesting part of the story so it was cool to focus on that rather than the "not speaking to each other recording on their own" later years. I also saw Supersonic recently and despite not being particularly into Oasis thought it was really interesting. Oasis may not be everyone's cup of tea but the story of how a bunch of lads from a council estate went from nobodies to one of the biggest bands in the world in a period of about 18 months is a fascinating one. [/quote]I saw the film at in cinema and thoroughly enjoyed it, but I won't be bothering with this latest release, I got the Anthology series of double CD's and have probably only played them half a dozen times, how may remixes, remasters can they get out of one album?, plus Sgt Peppers is probably my least favourite Beatles album

[quote name='NancyJohnson' timestamp='1491399547' post='3272722'] In my experience, CDs are upfront or at the time of order. We've always gone with reputable businesses with a proven track record (no pun intended). While I've never gone the vinyl route (or ever will as we're not hipsters), I would agree there needs to be something upfront to cover costs for mastering, cutting, acetates etc. All this costs and its effectively WIP before a single record is pressed. Full payment, though? Well we are poor, unreliable musicians so I suppose they're covering themselves. Are you able to contact the business and ask for references/bands who've used them previously? [/quote]we've used them before, can't remember whether we payed upfront or not, but that was just CD's, we're being asked for more money this time (£2500) so I'm a bit more worried about it

The band I play in are on the verge of releasing a new album and the people that are organising the production of the CD's and Vinyl are asking for full payment before they start (vinyl can take 8 weeks) is this normal business practice?

the bass is very 'knocky' but at least you can hear it, bass is very unfashionable at the minute,

you've got to admire the inventiveness of whoever looks after the Beatles back catalogue, a master class in how many times you can sell the same stuff and over and over, still while mugs will buy it why not? and when you've run out of formats just go back to vinyl again, you couldn't make it up

[quote name='obbm' timestamp='1491390190' post='3272607'] That's interesting because it's totally not what happens in my area. Open Mics, are for individuals and groups of performers. They usually book a time slot with the organiser and perform two or three numbers. It's an opportunity for the budding solo singer songwriter to air their works to an audience. PA is provided by the organiser. These have only taken off in the last few years. Jam Sessions are run by an Organiser and his House Band. This could be an established band or a group of musician friends. They provide the PA, drums and back-line and in most cases get paid by the pub. Musicians turn up with their instruments, make themselves known to the Organiser who puts them into bands for 3 or 4 numbers. Usually the designated singer will suggest the numbers and a short discussion ensues. Who knows it, what are the chords, etc. it's all very light-hearted and off we go. If you are a regular then you get to know the other musicians and their favourite numbers. Often you get to play something that you might have heard but have never actually played. It makes you think on your feet, watch the others and most importantly listen. If you get hit with a number that you'd like to play better next time then go home and learn it. There are musicians of all levels and one must be tolerant of the novices. We all had to start somewhere but it does get a bit frustrating if they don't know what a 12-bar is, or they try to slap a Blues. There are also those magic moments when the grouping clicks and it all comes together to the great appreciation of the audience. [/quote]yep, that's my understanding of open mics and jams as well

[quote name='blue' timestamp='1491369480' post='3272394'] Your definition of jam session is not mine. In the early 70s in my circle jam sessions were for the local top teir musicians with fantastic improvising skills. Someone would come up with a progression or chord arrangement and they would " kill it ". Classic rock had nothing to do with the jam sessions I'm familiar with. As a matter of fact, at the time there was no classic rock. The term didn't exist. BTW, these jam sessions were in musicians homes and not open to the public. Blue [/quote]there is a difference between private Jam session and public ones, private ones you know the people there and you're not boring the arse off the crowd (if there is one) by doing a 15 minute turnaround, public ones are usually where the musicians don't really know each other and agree to try and do a song they all know or some know and tell the others the chord progression, I agree they can be satisfying for the musicians involved but very rarely provide any sort of entertainment for anybody watching, IMO

there are no rules for open mics, some are run by the pub or whoever turns up first, most are run by somebody with a PA who gets paid (usually about £50 is my experience) and very rarely the performers will get paid, anything from a free pint to £10 fora 30 minute slot.

I know I shouldn't have, but just pulled the trigger, it's those maple necks and at this price I can't lose money, can I? edjt, so thanks for putting temptation my way

[quote name='Phil Starr' timestamp='1491298985' post='3271872'] Yes if you really wanted a lighter Trace it might be better to mount the Trace Drivers in a lighter cab. MDF has great sonic properties (mass, youngs modulus, uniformity and self damping) but isn't great for a portable cab. It's heavy, goes soft and distorts if it gets wet, and isn't as tough as ply. With the same drivers in the same shaped cab it'd pretty much keep the original sound give or take a panel resonance. [/quote]not entirely sure about this, Trace drivers are bloody heavy, as I said earlier I shaved 5Kg off a 1 x 15 T E cab by installing a non neo eminance driver I had around, reduced the weight from 25Kg to 20, did alter the sound though

[quote name='thepurpleblob' timestamp='1491295918' post='3271821'] I don't understand open mic nights. Getting up with some random musicians playing random stuff would be my worst nightmare [/quote]I think that Jam sessions, open mics are usually where you get up on your own or with people you know and perform a few songs, but I know what you mean Jam sessions have never appealed to me either, I don't know (or want to know) the classic rock songs that most of them seem to play or be the foundation while some guitarist does a 15 minute solo

[quote name='dudewheresmybass' timestamp='1491229515' post='3271369'] Apologies for the hijack, but is there such a thing as a bb pre amp clone ? [/quote]how accurate it is I wouldn't know https://www.zoom-na.com/sites/default/files/products/downloads/pdfs/E_B1on_B1Xon_FX-list_100.pdf