ShergoldSnickers

[quote name='Mrs Tinman' post='1001996' date='Oct 27 2010, 07:58 AM']Tell me how to doooooo ittttttttttt [/quote] Like this: "I fancy a cheese scone"

Here's a little puzzle to while away the time. Re-arrange the following words to make a well-known phrase: 'Productive' 'Counter'

That tone is like a mouthful of the finest velvety Swiss or Belgian chocolate. The playing is effortless, and like watching a star athlete swirl around a pommel horse without apparently breaking a sweat. If only my analogies lived up to your playing Mike.

[quote name='Jase' post='995485' date='Oct 21 2010, 12:24 AM']I checked out your stuff Ian...cool!! You get gigs too! Really enjoyed your improv [/quote] Oooo thanks, Jase. I don't quite understand how we seem to go down well at gigs, or even how we get them in the first place, but we do and I'm not complaining.

Oh bugger. This is what my band [b]should[/b] sound like!

Great vocals, and all the better for [b]not[/b] playing to a click - it sounds like a real band playing rather than an atomic clock. Great atmosphere and a sort of lazy, lilting quality that really works. Liked this a lot.

[quote name='PauBass' post='993721' date='Oct 19 2010, 04:23 PM'] 126 views and only one comment?[/quote] Confident, solid, great use of light and shade. Really professional. Loved the intro to Bushido in particular. How's that?

Our keyboard player just sent me this. He's trying to get a physical copy of the magazine to find out precisely what 'Beat' magazine is/does/looks like. Bear with it.... [b]The Review[/b] Before you've even slipped this on your CD player, you might be worried by the sleeve note information that 'all tracks were recorded as improvised, warts and all, and edited down to manageable proportions' – and timings indicate that four of the 10 instrumentals go beyond the 10 minute mark. If you need to cling to a category, then perhaps FoB roam the most distant reaches of jazz rock, but there's more of a kinship with The Spontaneous Music Ensemble, The People Band and like avant gardeners who were omnipresent in the myriad Arts Labs that pocked Britain circa 1968 – not to mention Gong, Henry Cow, Faust and other art terrorists who still provoke the question, 'How could anyone like this stuff?' It must be confessed that for a long while after their album came into my possession, FoB hovered as an uneasy and sometimes impenetrable background noise. Indeed, it was almost the sound at any given moment that counted more than individual pieces until I found myself absorbing and replaying the ilk of 'The Price of Vincent', 'Eine Kleine Not Musik', and 'Untitled' in a knowing, nodding sort of way. Give it a chance, and 'This is Not a CD' might be eating away at you. Alan Clayson [b](Review ends)[/b] A very fair review – we don't pretend that we'll ever be anything other than a very niche product. We aren't after the instant gratification of well crafted and arranged material that makes it's point with aplomb in under 4 minutes. We simply can't hope to do it as well as so many others, so we don't try. We do try to do material that we enjoy playing and that grows on you, over time. Even then, we recognise that will be a forlorn hope with many.

Oh well I suppose I may as well wheel out my Sound City 120 story. Again. Recipe: One large home made cabinet containing an 18" speaker. One Sound City 120. On the floor. One pint of lager on the cab. Add some loud bass notes and the pint glass starts to migrate. Wait for a few seconds and then look. You'll see the pint glass teetering on the edge and then empty it's contents into the ventilation grill on top of the amp. Try to look particularly alarmed and surprised by the cloud of steam and the strange farty noise, and then unplug your bass very quickly. Remove the shards of shattered valve glass and the valve bases, rinse the amp down, wait to dry and insert new set of valves. Do not look surprised when everything works as expected. Which it did. It just laughed at me when I switched it back on. Bullet proof.

Almost speechless. Magnificent, and a supremely professional job that leaves many commercial cabs looking shoddy. I am officially in awe.

Absolutely no need to feel dumb or stupid. You've solved the problem and left a pointer for others to check. The battery wouldn't have been my first thought either.

[quote name='discreet' post='978713' date='Oct 5 2010, 07:50 PM']How's your J10 build getting on? [/quote] You are not the only one that wants to know. Time for some action and some documentary photos Marvin.

[quote name='juice' post='977951' date='Oct 5 2010, 07:28 AM']I apologise now if I am repeating something already covered, but as I can't find the answer I thought I would post my question anyway.... I understand the combination of ohm rating in different wiring combinations and the effect on the amps power output. I also believe the more air you shift in total the 'louder' the rig (if power/ohm matched efficiently). But does anyone know if a 400w 8ohm amp into 500w 8ohm 4x10 cab produces more or less db than a theoretically identical 4ohm rig; i.e. 400w 4ohm amp into 500w 4ohm 4x10 cab? My grey matter can't decided the outcome ! - thanks for any comments. Juice[/quote] So long as the enclosed speakers are identical in efficiency across the frequency range, I would think that the end result would be similar. The speaker coils are going to receive similar power, which is then used to drive the cones. At least that's what I think. As ever, I have no embarrassment whatsoever in being proved wrong, the only way to learn is to be brave enough to ask questions and have your reasoning tested. Good question as xgsjx says.

[quote name='Lozz196' post='975729' date='Oct 3 2010, 09:27 AM']Sounds like King Billy gigs are good for the system. We slso played a King Billy gig, though in Northampton. 1st set was a bit sloppy, as due to a band members illness we hadn`t rehearsed for a good while (and he was in fact still ill last night), still, we`re a punk band, so not too much of a problem. 2nd set however was great, went down really well, crowd as always at The Billy were amazing, really vocal - nice to have virtually the whole audience on backing vocs, lol. All in all, another great gig at The King Billy in Northampton.[/quote] Maybe they should just change all pub names to King Billy? I was in a band in the late 70s that attempted to do stuff like Hurry up Harry - Sham 69, and Terminal Stupid by The Snivelling Shits. We were utterly hopeless. About as convincing as Boris Johnson trying to deal smack.

Another really cracking gig - this time at the King Billy in Cottingham as part of a 'Springboard' evening. It's nice when everyone suddenly changes key when it just feels right, and it all happens together.... AND.... the same key! Never had this level of communication in any other band. Spooky but good. Plenty of dynamics again, and ranging from moody floaty stuff to aggressive groove orienated stuff in the same 'song'. Yeah... liking this a lot.* * The audience may beg to differ.

Loudspeakers come as a system. Than means the drivers [i][b]and[/b][/i] the cabinet they are placed in, with all the compromises in port tuning, crossover design etc. Blandly saying big speakers are better without defining the precise context, is as idiotic as saying big paintings are better. Speaker size is just one minor component in the whole system mix. Edit: because I can.

Really like what you are doing there Tom. The general feel and atmosphere - right up my street. Yeah we know the timing is a bit dodgy, but you asked us not to comment on that. So.... the drum sound.... I'd try to get the best possible natural overhead sound first and then use reinforcement from other mics as little as possible, and with as few mics as possible. I usually end up with a Rode NT4 stereo for the overhead - in reasonably close, a CAD m179 in figure of eight to catch the snare and hi-hat, with a lobe for each, and then a kick drum mic. Mind you I'm very fortunate that the drummer in the band has a kit that records especially well, the toms project and don't need additional mics. You get a reasonable stereo image of a kit that sounds natural - a good starting point. Having said all that I'd willingly throw all that away if a better method came along, there's no room for dogma, and I'll freely admit my experience in recording lots of different kits is very limited. Always willing to learn.

A former band of mine, Sign Language, in the 80s at the Welly Club Hull. The guitarist Pete Cox is the one with the Burman 501. Why oh why did he sell it? I'm the very thin looking bass player. To the right of my legs you can just see a Marshall Super-Bass 100 valve top and a Fender 2 x 15 Dual Showman cab [attachment=60014:Sign_Language.jpg]

[quote name='Marvin' post='969827' date='Sep 27 2010, 06:23 PM']I'm the same! [/quote] Ha ha! Due to a childhood incident with a pair of underpants, some 30lb fishing line and a set of dumbbells I'm especially not the same.

[quote name='Spoombung' post='969775' date='Sep 27 2010, 05:55 PM']Agh, my ears!!![/quote] Just goes to show – I could listen to this for hours, certainly as an alternative to Mr Berlin. Weber's playing is generally restrained, melodic, and thoughtful and it doesn't sound like someone who wants to dazzle with technicalities. I fully accept that to others it will sound just terrible, but that's why we keep having these interesting discussions, because thankfully we are not all the same.

What am I listening to right now? Nothing musical alas. An annoying fan that's on the way out in a network switch. That and some very mild tinnitus. Looking with great interest at [url="http://basschat.co.uk/index.php?showtopic=104224"]this thread about earplugs:[/url] Plugs? It's got to be done.

First define the problem: 1. Lack of creative input, leading to... 2. Not being a living, breathing band member that helps craft the material, leading to... 3. Feeling that all the time and effort invested in learning the instrument is wasted. Solution: 1. Join a musically adventurous band that's just starting up, so you get a decent say in forming where the band goes and what you play 2. Form your own band. The audition problem is no-ones fault, you are just at musical odds with those you have auditioned for. There is nothing wrong with expecting a bass player to stick rigidly to a pre-determined part, it's just not for you. I really hope you find or form a band soon that allows you the creative space.

Desperate Din - sorry it's an old band name of mine to recycle All You Can Kill The Wooden Mushrooms The Ambiguators It's the Cheeseboard Stupid Adventures with Soup Bullets for Bankers Arbitrarily Random Hairline Open The Box The Leather-Headed Sons of Berlin Bootmakers Flip Side First Cat is the Dopest Smother Grandma Now An Extraordinary Rendition I make no claim as to the suitability of exclusiveness of the above