TimR

[quote name='Happy Jack' timestamp='1483528505' post='3207867'] That's because so much of the "music" of the 80s-00s was either pressing the occasional button on a pre-programmed sequencer or simple re-treads of great original music from the 60s and 70s. Next? [/quote] If it has a melody and lyric then it can be played on guitar.

There's a lot of laziness within musicians and a surprising lack of imagination. How many of us have heard the 'but we don't have keyboards/drum machine/strings/brass so we can't play that song'? Complete lack of imagination. I played on Boxing Night at our local in our annual jam session. It was rammed with people of all ages and musicians of all ages played. It's a lot easier to play three chord guitar band tunes from the 60s and 70s than it is to play anything from to 80s-00s. (And you'd have to pay me an awful lot of money to play Oasis!) The originals circuit is still full of 17 yo in bands seeking fame. .

There are bass players with no transport, no decent gear, that play badly, turn up late, miss rehearsals, get drunk... But none that are deaf.

The entertainment business is (probably) the only industry that can pick it's actors based entirely on looks. It's pretty important that it can. You can hide the 'age' thing to a certain extent by sorting out the style of clothes you wear and looking after your weight, but most of all your attitude and body language are a dead giveaway. Then there's the type of music you listen to and what influences you. Try and stay current. .

[quote name='karlfer' timestamp='1483443210' post='3207114'] In Blue's example, post #2 a lot of folk would weed themselves out anyway. Touring US and Europe, well, it has to be goodbye to any day job. That should lead to a premise of requiring an experienced professional imo. One of the things I KNOW I bring to a band is experience. Even though I'm a grumpy fat old git, I can make suggestions about song arrangements that can make a difference. Just one example, from one band and one song. Bryan Adams, Summer of 69. I suggested doubling the length of the lead break, with both guitars doing tapped harmonies. It always went down very well and people nearly always kinda went "wow". Experience helps with arrangements and pleasing crowds IMO. [/quote] Yes. In my experience messing with well known arrangements can get you into deep water when you need new members or a dep at short notice.

[b]Relevant[/b] experience. There's some crossover between different gigs but someone who is used to playing 30numbers at pub gigs in jeans may be a great player and know what's expected in that environment but expect them to put on a pair of shoes and trousers and prepare 50 numbers for a wedding gig, and I've seen a lot of musicians fall down spectacularly. Some will take some direction but for those where 'smart' means best jeans and trainers they'll never cross over. .

Just don't put your fingers in your mouth. Skin is pretty impervious to bacteria etc.

Gold plated oxygen free kettle leads with 3A fuses.

If the guitar is too loud for you and you're off-axis to the speaker, imagine how punishing it is for the audience standing in front of it. My guess is it's pointing at his knees. Get it raised up and pointing at his ears. He'll turn it down then!

[quote name='Coilte' timestamp='1483016174' post='3204126'] I don't see anyone [i]telling[/i] anyone else what to do. What I see, are people giving their opinions on whether or not they agree that certain "accessaries" are to be used on stage. [/quote] There's loads of people who think everything is aimed at them and they're being told what to do. These are people who can't just ignore things that don't apply to them. That's what causes the arguments.

It depends on the type of performance whether you're using stands or music and we've ha that debate over and over again. Whether to use tablets or sheet is an interesting debate. If you use the Fake Book, I'm told there are 1000 jazz tunes in it. I haven't memorised any Jazz tunes, let alone be able to transpose them in the fly. The electronic version has automatic transposition. However, I don't know if you can write on the pages, when doing pit work it's important to make performance notes and queues. So if you can make notes that's good as well.

Ooh. Is it McFly?

Nice. 60seconds of each song is probably long enough, put up as separate short videos. A long medley risks people clicking off the video if they don't like the first tune. People are quite fickle. You can split it easily if tou wanted to do that. You could also have added some dynamic video (someone moving around using a smartphone) as it feels a bit static using fixed cameras even tough you have lots of angles. (but that's just me being overly critical ) Good work.

[quote name='barneyg42' timestamp='1482607172' post='3201891'] ... [/quote] Well, it started off ok.

..

[quote name='thebigyin' timestamp='1482310904' post='3199344'] Hi Folks Contemplating venturing into the world of reading Would i be right in asking if I was looking at a piece of music that was in a certain Key Signature that the piece would use notes of the said Key? For instance if the Key was say E major that most of the notes within the E major scale would be used i know there may be a possibility that there might be some chromatic runs or passing notes ect. I can't read music so was just wondering if the Key Signature determines the majority of the notes. Does my question make sense as i find it difficult to word what i'm asking cheers Bob [/quote] Yes. Look at the circle of 5ths chart posed above. You won't need to work out which key it is by examining which individual sharps and flats are notated. Simply learn that C has no accidentals and F is the one with one flat (Bb). G is the one with one sharp (F#) etc. It takes a lot of the work out of it if, when you see 1 flat, you know it's a Bb and the piece is in F major.

I suspect the problem is having a wide range of instruments. I think that's already been alluded to. My Ibanez was £400 in 2002. It has an awesome sound possibly because it has PJ pickups and not the later ones. If you put two Ibanez' side by side they're fairly indistinguishable. Why pay 4x the one on the left for the one on the right?

If you have house insurance you will be covered under a lot of circumstances. Have a word with them. Unless you are out every weekend they'll probably be happy to cover you, sometimes for a slight increase in your premium. It will be unlikely that it's the venue who decide whether or not to claim against you in the event of an accident. The third party insurers will claim against the venue as the accident happened on their premises and then the venue's insurers will claim against you. The venue' insurance will cover employees and casual staff, and they'll claim against those staff if they think the staff have been negligent in the event of an accident. They're asking that you're insured to save them dragging you through the courts and suing you. .

[quote name='TheRev' timestamp='1482156131' post='3198065'] I did not know that. To be fair, I'm not trying to do anything more complicated than make the pretty light more redderer.. [/quote] It's RS-485e. Good for up to 1200m. If you're running a cable from one side of a pub to the other Mic cable is fine and you may get away without termination. If odd things do happen then make up a termination plug to go in the output DMX of the last device.

[quote name='SICbass' timestamp='1481899914' post='3196130'] Our 'big' girl turned 5 this year. I'm gagging to take her to a panto. Next time we're in the UK for Christmas, I'm definitely taking her. [/quote] My 'little' boy is in our local professional Panto Peter Pan. He is in one of three teams of boys. It runs from end of November to the end of January, he has 32 performances. Means the pro performers are doing close on 100 shows over the two months. It's a fairly big undertaking.

There are a few women who have been enlightened to the ways of the bass player. They're generally not backward in coming forwards. Patience.

Bring and set up lights and smoke. Load in ad load out. Facebook. Occasionally suggest songs and trying to keep the balance between a guitarist who wants to play guitar driven heavy rock and a singer who wants to sing acoustic melodic ballads.

[quote name='stingrayPete1977' timestamp='1481799386' post='3195200'] I'm not sure if Blue has this term? If not I'm sure he'll agree with it anyway, "never mix business with pleasure". [/quote] I think "Keep an eye on the business side of your pleasure." Fits better.

[quote name='cheddatom' timestamp='1481798822' post='3195187'] Hah, yes, just screwed myself over with one of these projects! [/quote] I did it with two bands. Years apart for different reasons. 1st was my first band of teenagers who were going to be famous rock stars. I was the eldest, did the driving, booked and signed for venues, subbed the band (who didn't have jobs) for recordings. Then they got their mate in to play bass when it looked like they'd got a deal. Only they hadn't and the band fell apart after that. Surprise surprise. 2nd was a function band. Put a lot of work on on websites, advertising, booking gigs. Seems no one actually wanted to gig. C'est la vie. .

[quote name='cheddatom' timestamp='1481794430' post='3195136'] It wouldn't be unreasonable to ask them to pay for the production [/quote] I was thinking about suggesting he invoiced with a polite letter setting out the hours put in. Thing is; a lot of people can get involved in projects and do stuff they haven't specifically been asked to do. Mainly because they had got too emotionally involved in the project. Difficult call. He's unlikely to get any money might make them realises how much he's put in but also might just make things worse.