SumOne

I can't find a manual for the + online. Has there been a change in the parameters that can be adjusted for the effects? I remember it being a bit frustrating with the MS 60 that things like the Compressors can potentially do everything you'd want (knee, threshold, ratio, crossover, attack, release, tone etc.) but no one compressor does more than a couple of those things. You want crossover and threshold control, or attack and knee, or tone and ratio? ...not happening! At least, not happening with one single compressor effect. Another example is the Chorus, 'Ba Chorus' is the only one with cutoff adjust, the other three chorus 'flavours' do not, what if I want stereo chorus or chorus ensemble with a low cutoff? Ideally I'd like a 'Zoom special' of effects that has all the parameters available rather them each having limited control. Perhaps that's a processing power issue, or because they stick to emulating analogue pedals, but seems to miss out on what can make digital multi-fx really good - all that extra parameter control that you can't get from analogue pedals.

'Dad' by name and nature eh?! I'm pretty sure a variation on that joke has been wheeled out by almost every conservative (small c) parent regarding dance music for the last 40 years, and for disco, punk, dub, rock n roll, jazz etc before that. 'It's just noise!'

Unexpected highlight:

Steel Pulse at Glastonbury on iPlayer https://www.bbc.co.uk/iplayer/episode/m0020srf/glastonbury-steel-pulse-and-brittany-howard

The Streets, Sleaford Mods, and Orbital (who have s song featuring Sleaford Mods) all on at the same time doesn't seem the best planning. Sleaford Mods Jason Williamson had a bit of a rant and swear about it on stage....but I imagine he has a bit of a rant and swear about his cup of tea each morning.

I dunno. You can get crushed in a crowd in a field, some stages/access can handle bigger crowds than others and I would think one of the main jobs of festival organisers is to understand popularity of artists/timings beforehand.

A C4 in this new hardware would be great.

There is a bit of that. But on a deeper level, apart from the last few hundred years, almost all musical enjoyment throughout human history would've been a similar thing of communal dancing to repetitive rhythms (often with supplements!), and probably not caring too much about the technical proficiency of the musicians - or not particularly revering them anyway. It's probably quite a modern thing to have the 'isn't he great at playing that instrument' side of music, and partly that's an ego thing for the musician.

I'm sure a lot of people do, but I feel they have missed out on something that's in some ways a bit of a deeper/communal side of music. Lots of people hate the other end of the spectrum where music seems mostly there for very skilled musicians showing off how technically proficient they are. In-between is the general thing that people appreciate good musicianship and putting a face to the music, but they don't generally care about how much practice and effort went into making the music or if the drums/bass etc were sampled or played live or made by AI.

Isn't that potentially quite exciting though? Partly, (or perhaps mostly) music is there to entertain, people don't really care about how it was made, and why should they? If AI can entertain people better than humans then perhaps that's a good thing in some ways? People who enjoy making music can still entertain themselves by doing that, and I expect there will always be people that value seeing good musicians playing live. But would it really matter if AI perfectly creates, say, music for me personally when I go for a run (linked to my listening habits, age, likes, blood pressure, heart rate, the weather etc). It could basically takes music theory and pre-existing music and re-interpret it and personalise it for the listener for their enjoyment. Most pop music is made by committee anyway and follows quite specific music theory, borrows ideas, re-interprets, re-packages, it's not really a personal human to human connection - just presents itself as that. I went clubbing a lot in the late 90s at techno nights, the whole concept seemed to be that the music was 'faceless' and sounded like something un-earthly and futuristic - while also somehow being something that somehow has punk influence and harks back to being tribal. It was all about people dancing together. and people didn't really care who made the music, or how it was made, or the technical musicianship needed. In some ways, I think that's quite a pure form of musical enjoyment, rather than massaging the ego of someone who's spent 1000's of hours learning to play notes quickly to impress people that don't have the same skill. Perhaps AI is the logical extension of that, people enjoy the music - not the effort that went into it.

Errol Dunkley, OK Fred. (Originally by John Holt)

Call me a cynic.... but take caution!

I suppose along with the whole 'offer what it's worth to you' thing is that the market value might not be quite what it seems to the seller (or buyer), so people get it wrong. Just because someone puts a Pedal/Bass etc up for sale and then the advert is marked as 'sold' doesn't mean it actually sold for that amount, or perhaps there's just one rich person out there that paid more than most people would, it doesn't mean the majority of people are then going to be prepared to pay the same amount or that it is now the fair market value.

Delroy Wilson, Better Must Come:

You're probably doing yourself out of sales/purchases with that attitude though. It doesn't have to be a big haggling ordeal, just offer what you think you'd like to pay and they might accept it or might give you another price. I mean, making/accepting offers is pretty much the done thing with anything second-hand: house, car, bike etc.

I wonder if bidding could be done in some way? Simplest being putting something up for sale with a auction closing time and people then commenting on the thread with their offers (or could be done via PM to be secret - but the seller updating the sale with the latest price).

I think it's fine to offer what you'd be willing to pay (often for me that's asking price, but sometimes less), if the seller thinks they can get more then they can just not accept the offer. I'm not really doing it for the 'game' of haggling for the sake of it. It annoys me a bit when sellers take offence at what they see to be low offers, especially if they've had it for sale for ages. Perhaps the offer isn't what they see as 'market value' but it's what someone feels is the amount they would part with at that time and they've made that offer. Take it or leave it.

Whatever it is, I like SA pedals being more knobby!

My perennial problem with multi-fx strikes! They can do lots of complex stuff, but complexity isn't good if it causes confusion - especially if it complexity isn't needed for what I'm doing. Last gig I played, I clicked on the single FS I'd set for Tuner (as the double FS press has caused issues), but I think I'd also pressed a dial in with my foot at the same time as it jumped to some far off (very different sounding) Preset....which led to some fast clicking to try and get back to the Preset I wanted. Also, at one point I wanted a more distorted Drive, but I didn't want it enough to actually start clicking around in the fx blocks and making adjustments to it for fear of some unintended consequences. ...during the gig started hankering for a return to a simple setup of TU-3, Drive, Compressor. That's the first stage of the multi-fx to individual pedals cycle.

I'm planning a mix (got a DJ set in a couple of weeks) and that was my thinking: A few versions of Real Rock mixed up, (including the Original and the Scientist version), then that 'Johnny Osbourne perhaps leading into Ice Cream Lover and then Under Me Sensi, then Under Me Sleng Teng. Currently getting into the 'Im Still In Love With You' Riddim, probably going from that into 'No No No' (Dawn Penn going into the Joe Gibbs version). ......although when it actually comes to it live, that will probably all be out of the window!

'Real Rock'..... run the riddim!

Good pub gig list night. Lots of people dancing and singing along to our Ska versions, it seems to work well - not just playing bog standard ska tunes or pub pop/rock covers, putting a different spin adds a bit of originality/interest while also being familiar enough for diverse pub crowd to get into. My feedback to the band will be that DJs (or at least good ones) read the crowd and play music to keep the dancefloor busy. Likewise, some flexibility in the band setlist would be good.

Sugar Minott 'one step ahead'