TimR

It's funny how songs go down. I would have thought it was relatively well known. A bit of a coincidence I just ripped my Contraband CD into iTunes on Thursday. Another tune that everyone knows likes but never seems to go down well is Are You Gonna Go My Way by Lenny Kravitz. I think you would be better off with Wecome to the Jungle than Slither - same style, slightly less heavy but has that 80s longlived vibe.

I assume he didn't see the bass bit and just saw the Cajon bit. How is your profile setup? What does it look like to other people?

[quote name='discreet' timestamp='1361458427' post='1985980'] [/quote] I think she's in one of my Over 40s Special magazines.

Right then. I'll get my coat. I thought this might lead into some discussion about approach notes and passing tones...

Was 1997 15 years ago? I can't remember what I was doing in 1997! I don't think that's me although I did have a pair of baggy jeans with turnups but that was in 1987.

[quote name='flyfisher' timestamp='1361349483' post='1984782'] ... The law is indeed behind the times. We don't even need a TV licence to watch iPlayer content, which I suspect is not really the original intention of the licence. [/quote] But it is restricted to territories where you are likely to have paid for it. I suspect that if you can receive TV programs, you should pay the license, whether anyone has been prosocuted yet is probably only a matter of time.

When you are soloing, ad libbing, busking, or otherwise creating a bass line; how far ahead are you thinking. Are you aiming for the next chord change, or two or more chords ahead? Do you think in terms of whole passages, or do you just play whatever appears under your fingers for the chord you're playing at the time? or something else...

[quote name='Mr. Foxen' timestamp='1361319591' post='1984675'] So your suggestion is that is a copy, or a copy is comparable to listening to radio. Legally, that is basically it, if you receive a file, you aren't copying it. [/quote] The radio station pay on your behalf everytime they send you the music.

[quote name='SteveK' timestamp='1361278242' post='1983719'] ... Some bold assertions here... 1. As do the majority of professional musicians today. Composers, quite rightly receive the greater rewards. 2. There are many examples of people having to pay to walk in to a building. Whether the architect is part of the profit sharing would be something for him to negotiate. 3. Then, don't work for Heinz. If you create your own sauce and work to get it in the stores, then you will most likely be paid for every jar sold. That's how it works. 4. Simply, not true! [/quote] 1. Yes nothing has changed there. 2. Why? He was paid a huge amount up front for his expertise and people will employ him in future to design buildings for them. 3. That's not the way it works. You're paid to design something and the manufacturer does all the advertising, testing, cooking, bottling, distribution, etc etc. You couldn't do it on the same scale without some serious backing. 4. Name one industry outside of art that does?

[quote name='stingrayPete1977' timestamp='1361207154' post='1982783'] I don't see why it's being pedantic, the E is sharp in the key of F sharp, it's just that it's the first time I have knowingly played one [/quote] It's not being pedantic. My example was that everyone knows what notes you mean and it's not worth having a long discussion in the practice studio over whether it's an Ab or a G#. In my example the guitarist called out the notes and after F# I was expecting him to say G# and when he said Ab it threw me for a microsecond. When I said it was G# he looked at me blankly like he'd never heard of a G#... If you're practicing and you call out C# D# E#, 9 times out of 10 you'll confuse someone.

[quote name='MiltyG565' timestamp='1361219348' post='1983093'] Mmmm, it seems to be. Loads of people speed and drink drive because they think they won't get caught. You're right, people do have a strong sense of morals. [/quote] Are you telling me that the only reason you don't drink and drive is that you might get caught. The only reason you don't steal things is that you might get caught and the only thing that stops you from assaulting or murdering people you don't like is that you might get caught. Clearly nonsense. If you're talking about copying music then I suspect you have a level of morality of your own. If it's an artist that you like and respect you may be more likely to buy the music. If it's a track for you to learn to play in your band that you're only going to listen to a few times then delete or file away then maybe you'd think twice. If it's a multi million selling track that you've already bought on vinyl? Are you saying the only reason you have not to copy music is that you might get caught?

[quote name='MiltyG565' timestamp='1361208286' post='1982815'] ... Like i have said before, if people think they will get away with something, they will do it. It doesn't make it right, even if it is legal. [/quote] Really? I think you find most people have a very strong sense of morals. Not everyone's morals are the same but "whether you can get away with something" is not a major factor in most people's decision making process.

[quote name='lojo' timestamp='1361171002' post='1982065'] I'm an educated player, but I find arguing about chords annoying and a complete waste of time, at least for covers, everyone should do thier homework before a run through, regardless if you can read or not. So unless you decide to change key during a session there should be no conversation in an ideal world. [/quote] The key being an ideal world. I find quite often that it's not always easy to pick out some lines and somoetimes what the guitarist hears and interprets are different to what I have heard and interpreted. Especially when the bass is indistinct on the recording and 'almost' doubles the guitar. That's what practices are for, to make sure you're all playing together.

So. Before recorded music, musicians got paid for their time in the same way that practically every single other profession does. If I was an architect I wouldn't get paid everytime someone walked into a building I designed. If I worked for Heinz and formulated a new ketchup recipie I wouldn't get paid everytime someone bought ketchup. Musicians essentially struck a deal with the distributors that everytime they sold a unit then the musician should get a share. No other industry works in this way. This enabled some musicians to become much more wealthy than their initial efforts warranted. It allowed distinutors and the people who initially invested in the musicians to become far more wealthy than their investment risk warranted. Far more wealthy than the initial purpose of copyright which was to ensure that musicians were not taken advantage of and were able to continue making music. Making, recording and distributing music has become easier and cheaper, the rewards are becoming realigned. It's harder to make money from sales, but then it's harder for everyone to make money now, regardless of their profession.

Life can sometimes get a bit short to be pedantic. Arguing with a guitarist that the run is E F# G# A and not E F# Ab A is not always a productive use of practice time. Shrug play the notes and move on

[quote name='pete.young' timestamp='1361133116' post='1981674'] ... Since you already have an F# and a D#. and according to some arcane rule of musical theory you're only allowed to use each letter once, you end up with E## rather than F . ... [/quote] Nope E## is F#. Typo?

...it's on YouTube of course: http://www.youtube.com/watch?v=fAiR5H2U01Q&feature=youtube_gdata_player John Peel's Sunday Concert 16 July 1970. Post Syd though.

I bought Ummagumma and Meddle because I had a tape I recorded off the radio of either John Peel or Bob Harris introducing them possibly at Miada Vale with the BBC concert orchestra? Atom Heart Mother, Set the controls to the heart of the sun, several small animals etc. No idea where that tape is now. Probably get it on line somewhere now.

I'm either thick skinned, laid back or simply missing these contentious threads.

[quote name='phil.i.stein' timestamp='1360700206' post='1975066'] a chatter. [/quote] You knew that didn't you? [url="http://en.wikipedia.org/wiki/List_of_collective_nouns"]http://en.wikipedia.org/wiki/List_of_collective_nouns[/url]

It probably also depends on the size of cable and breaker running from the house. Two loud bands will be pulling a fair amount of current, add lights and you could get voltage sag which might account for loss in volume when two bands are in. All sounds a bit dodgy.

A couple of the guys I play with were active in Cambridge in the 60s and knew Syd in passing. There's a bit more info here, a film etc http://www.i-spysydincambridge.com/ http://www.i-spysydincambridge.com/assets/pdf/booklet-march2011.pdf

Big shed? Is this an out building supplied from another building? If so it's likely that the building earth is suspect. Make sure you are using an RCD. £10 from B&Q that could save your life.

Should be Spinyl as in vinyl. That would get more attention. Although telling people your web adress would be tortuous...

Probably down to Neil Peart's love of big band jazz. http://en.m.wikipedia.org/wiki/Powerhouse_(instrumental)