bigjohn

I really like Sungrazer. Not really a surprise as I really like Kyuss too. I find some of the whole genre a bit grating vocally though. Much like every genre to be honest!

Not bad ... Not bad at all...

A lucky chap I know on here has one...

Nowt wrong with 4 strings.

[quote name='Mr. Foxen' timestamp='1361497299' post='1986734'] Development seems to have gone away, could do with it back. Seems to be heading that way as I can still find some music that interests me, but its hard to get among all the 'influences' in absence of ideas. [/quote] Well you'll have to get out more. Or look on youtube. I'm quite looking forward to this new Queens of the Stone Age stuff, which is quite odd as I was never really a big fan. I doubt I'll buy it though. ...Probably won't like it.

[quote name='Mr. Foxen' timestamp='1361494779' post='1986710'] "the traditional music distribution system" was hearing it played, figuring how to play it, then playing it to people some of whom would do the same. Music developed through chinese whispers. Now we get 10 million rehashes of Beatles classics with production that makes it sound dated in 5 years. [/quote] Well yes. An that's never gone away has it? And that's not what I was talking about and well you know it "recorded for kinetically / electrically powered & physically stored audio distribution system" how's that?

[quote name='Gust0o' timestamp='1361471094' post='1986291'] bigjohn you're a total don! [/quote] Aww... Fangs... I think you've got to view the traditional music distribution system as pretty much defunct / dead. It's death began the 80s and 90s with the advent of MTV / the internet and the lack of interest in the top 40 / top 10 albums and buying the physical items that made that such a massive industry. CDs just prolonged the death because they're smaller and easier / more profitable to produce. If the internet existed in the 50s and 60s, there's no way we end up with the monolith we call the music industry in the 70s and 80s. And the nomenclature of "file sharing" and "downloading" is laughable. What the hell is the internet if it's not both of those things? For better or worse. As was said earlier, the kids don't give a damn. Or similar. I'm off to find some late night cheese. I'm thinking Roxy Music. I need cheering up after losing to Zenit.

I think you've got to view the traditional music distribution system as pretty much defunct / dead. It's death began the 80s and 90s with the advent of MTV / the internet and the lack of interest in the top 40 / top 10 albums and buying the physical items that made that such a massive industry. CDs just prolonged the death because they're smaller and easier / more profitable to produce. If the internet existed in the 50s and 60s, there's no way we end up with the monolith we call the music industry in the 70s and 80s. And the nomenclature of "file sharing" and "downloading" is laughable. What the hell is the internet if it's not both of those things? For better or worse.

[quote name='Gust0o' timestamp='1361469883' post='1986253'] Absolutely, Stu - and, certainly, less [i]control[/i] of what we would call the value-stream. In terms of 'tangible benefit', I don't think it could have been clearer - how many examples have we had? Kodak? Jessops? Game? HMV? All running to the wall, for the wont of a new business model. We're still on the why, though. We could see it. So, with our record company example, even with the change to digital media apparent - why didn't they change? Not as much scope for profit? Yeah, very likely. But, if the market is changing you still need to adapt to it or fail - I mean, if you were making a 10% margin and had to drop to 5%, it's still better than 0% and the abyss. And this is where I think the why could be telling - why didn't they adapt? Did they think, in hypotheses, that they could exercise a level of control on the market, to the extent that they could control production and thus stave off the need for change? [/quote] They should have all read "[url="http://en.wikipedia.org/wiki/Who_Moved_My_Cheese"]Who Moved my Cheese?[/url]" [b]Change Happens[/b] [i]They Keep Moving The Cheese[/i] [b]Anticipate Change[/b] [i]Get Ready For The Cheese To Move[/i] [b]Monitor Change[/b] [i]Smell The Cheese Often So You Know When It Is Getting Old[/i] [b]Adapt To Change Quickly[/b] [i]The Quicker You Let Go Of Old Cheese, The Sooner You Can Enjoy New Cheese[/i] [b]Change[/b] [i]Move With The Cheese[/i] [b]Enjoy Change![/b] [i]Savor The Adventure And Enjoy The Taste Of New Cheese![/i] [b]Be Ready To Change Quickly And Enjoy It Again[/b] [i]They Keep Moving The Cheese.[/i]

The way I look at it. "downloading" a "copy" of a track sometimes isn't worth paying for. However, buying a track from iTunes sometimes is. If it's a track I want perennial use of. I don't [i]have [/i]to back it up, I can download it to multiple devices and the metadata is correct on each. It's more the distribution I'm buying than the track. Much like when I bought vinyl I was buying the object rather than the music, when more often than not I could obtain a cassette copy of whatever I wanted from somewhere, I still bought albums like I do now.

[quote name='SteveK' timestamp='1361280152' post='1983771'] I'm not sure if you're having a joke or being serious. In the absence of a smiley, I'll assume that you're serious... 'Pay them per flip?'...Why? I'm not paid per pluck. But certainly, pay the designer of the light switch per unit sold. [/quote] Do you consider "a unit" as a digital copy of something that can be reproduced over and over with no extra production cost? (much like a flip?)

Yeah, to be honest, though I'd always ask beforehand, or a least make a decent attempt to get in touch with other bands playing on the night, if, like gigs I've played before, there's 3 or 4 bands on and we're going on first or second, in another city, I don't expect to have to take a full rig with me. Similarly when I play with other bands who had to travel and are going on after us, I find it unrealistic to expect them to have brought full rigs and a drum kit. It just doesn't happen. Nor should it.

[url="http://www.youtube.com/watch?v=7Bbfrn400zs"]http://www.youtube.com/watch?v=7Bbfrn400zs[/url]

[quote name='BetaFunk' timestamp='1360963701' post='1979275'] [media]http://youtu.be/-7f3XTby1a8[/media] [/quote] Radical.

Stick it all in a Venn diagram and see what we get For me, I think good players have an element of surprise to their playing. But seeing as I see the bass as mainly suited to ensemble, the good player should also be able make musical choices that don't overtly challenge the context of the ensemble. It's the balance and juxtaposition of these two elements that when done well, makes players interesting and [i]good[/i]. Oh - and making my foot tap helps.

[quote name='fretmeister' timestamp='1360752029' post='1975734'] Fender CIJ 1962 re-issue. There really is no reason to spend more money. Get a good one and set it up properly! [/quote] I spent ages looking for the right '62 reissue for the right price. Never got there and ended up buying my US Standard. Was more expensive, but nicer than all of the 62s I tried and it's got graphite truss supports for my big heavy La Bella strings.

I had a fight with the wardrobe door a couple of years ago. Caught it square with a big left hook. Would have been fine except I hit it right were there [i]was[/i]... nice little dainty porcelain handle, which broke off and flew across the room. Needless to say - it bloody hurt. For months. Very lucky it didn't do any more harm than bruise. Made rehearsal that night and for a few weeks after a rather painful affair too. I'd had a particularly bad day. Our wardrobe doors a built into the wall - about 3ft up. Said door was open, I closed it over, bent down to pick something up off the floor, stood back up and cracked my head on the door that re-opened under it's own weight. I'd hit it before I had a chance to think.

The f***ing Beatles. Fanf***ingtastic

I've gigged my Ampeg B50R a few times. No good for a rock band - but for more civilised / acoustic affairs, it's fine. Even as a four piece with a drummer. It's only 50W with a 12". It's deffo a very full fat 50W though I've also gigged my mates brothers B100R in a much louder band and that went ok - that's 100W into a 15" though - so you'd expect it to have a go at holding it's own. I've played with some 200/300W combos (Ashdown, Harke, Markbass) and they've all been more than loud enough. All about EQ as far as I'm concerned. There's no need for for more than 100/200W if you're willing to EQ for it. If, like me, you EQ with bass, bass and then some more bass, you sometimes need more power.

There's a Badass III on my Jazz. It came with it. I do quite like it and it's more robust then the BBOT. However, I wouldn't actually buy one and fit it. I once bought a Fender HM bridge and put it on a MIM P. Made no difference at all sonically. Although it was easier to fit strings and was more adjustable. I think my favourite bridge is the current HM bridge which comes fitted on US Standards. But there's nothing wrong with a BBOT. At least I've not owned a bass where a BBOT would be a problem.

[quote name='uncle psychosis' timestamp='1359996639' post='1963222'] How do you make that fit? [/quote] Roll the long end and put it in the gap next to the top horn, lay the shoulder piece over the cubby hole, fold the shorter end of the strap and put it under the headstock. I do it without thinking now, so it's not a problem, it pisses me off though when I think I'm packed and then I see my strap lying there unpacked Or when I've got to do it all over again because I've not packed something else. Grrr!

I fit my strap in my Hiscox case, it's it one of these : So doesn't roll. It's a faff, and I have to do the same thing when using my Fender SKB case too. It's doable though. Leaves enough room in the cubby hole for a spare lead, tuner, spare strings and a screwdriver.