flyfisher

It's a strange world out there . . .

Yep, and Jeff Lynne seems to have maintained that same 'perm and shades' look to this very day. I reckon it's just a disguise so he can take them off and walk the streets unmolested by rampant ELO fans.

What I didn't realise about Roy Wood is that he died in 1986. At least that's what my Google search for "Roy Wood" reveals (on the right-hand sidebar), so it must be true!

+1, and their ruggedness is going to be mainly limited by the 'jack' part itself, rather than the housing.

[quote name='BigRedX' timestamp='1386677431' post='2302901'] If all you recall of Wizzard is the Christmas single then you are need to search out the first album "Wizzard Brew" and be in for a bit of a shock. [/quote] Having to search out Wizzard stuff is my basic point. [quote name='BigRedX' timestamp='1386677431' post='2302901'] . . . it is obvious (IMO at least) . . . [/quote]

[quote name='BigRedX' timestamp='1386620193' post='2302334'] The writing of the song might be credited to Lynne, but as even Wikipedia acknowledges, most of what what made it unique from an arrangement and production PoV was down to Roy Wood. [/quote] I don't doubt the input of Wood, just questioning the 'mainly' comment. Wood left ELO almost as soon as it was started but they didn't seem to suffer too much from his departure and, with the exception of Wizzard's eternal Christmas hit, seemed to go on to enjoy more enduring success than Wood.

Really? http://en.wikipedia.org/wiki/10538_Overture

Maybe she stormed off from BC in disgust . . . .

Corrrect. Although the amp and cabs are being connected in a physical daisy chain, the cabs are electrically connected in parallel. AMP--------CAB--------CAB and . . . AMP--------CAB | \________CAB . . . are electrically the same. Both cabs are being electrically connected in parallel and if they are 8 ohms each then the total load on the AMP will be 4 ohms. (I hope the graphic is clear enough, the forum software seems to remove spaces!))

I'd never thought of it that way, but I quite like the idea of describing someone in major/minor terms rather than glass half full/half empty. Mind you, major and minor have other connotations that might cause complications.

[quote name='bassman7755' timestamp='1386543918' post='2301392'] Personally I think much of it is programmed response. I think we learn to associate "happy" with major keys and "sad/rousing" with minor for example. [/quote] Wouldn't that mean that whoever discovered/invented/defined major and minor keys must have also defined them as 'happy' and 'sad' so that we could then learn that association?

[quote name='3below' timestamp='1386536531' post='2301255'] As above. It works because it sounds right to our ears. At this point we get into the debate - did we make music theory to fit what we hear or was the theory in place and we found it. That is not my take by the way, it is the debate of Popper, Kuhn, Dewey et al in Science. [/quote] Interesting. Sort of like did we invent or discover mathematics?

Yes, the communication thing makes sense, especially in a professional environment. Also, I guess we all need to know a bit of theory, even if only to tune our instruments and knowing a few chord shapes, but an awful lot can be done by just sitting around and following others. [quote name='Dad3353' timestamp='1386528140' post='2301104'] PS: Definition of 'serious', please..? [/quote] TBH, I wasn't sure myself, hence the use of quote marks.

[quote name='dlloyd' timestamp='1386364682' post='2299451'] You could write a PhD thesis on the use of blue notes, the use of b5 and #9 alt7 dominants to add tension, the #9/b3 ambiguity as a vehicle to imply emotion, etc. and probably trace its history back to field hollers and work songs, but blues isn't something that particularly benefits from over-analysis. [/quote] One thing that has always intruigued me about music is the chicken-egg thing. All this pentatonic, mixolydian, major minor stuff pretty much goes over my head, yet I can play a blues jam pretty well just from what I've learned by hearing over the years. Presumably it was (playing) music that came first rather than someone sitting down and 'inventing' musical theory from scratch? So is all musical theory just a way of wrting down and explaining what already sounds good to our ears? After all, there are countless examples of great music created by people with little or no musical theory, so why it it generally treated as essential for any 'serious' musician?

You're running out of time to sell before . . . .

In an uncomfortable parallel with the now locked Tom Daly thread, may I ask how many of the examples are truly sexist remarks and how many are just honest assumptions or misunderstandings based on people's general experience? If you call out a plumber and a woman turns up it's likely to be a surprise because, let's be honest, it would be unusual in most people's experience. I wouldn't consider surprise sexist in itself. I also don't think it would be sexist to make some sort of remark along the lines of 'oh hello, I wasn't expecting a woman plumber' - crass though that may be. Something like 'do you mind luv, I'm waiting for the plumber' would cross the line though. I'd suggest sexism is when women are treated as being somehow inferior rather than being surprised about their line of work or interest in certain instruments. I know women who have set national water speed records, competed in rallies and are commercial airline pilots - all of which elicit some surprise if the subjects crop up, but not in a sexist way. Besides, there no real doubt that, with the possible exception of sheer brute strength, women are generally more capable than men in pretty much everything is there?

[quote name='discreet' timestamp='1386345052' post='2299092'] It should come with a bass as well. And a bass player. And his wife. And dog. And so on. [/quote] Well I wouldn't go that far, though the dog should come with a lead, obviously.

The only comforting thing I can think of is it should be possible to save a load of money by replacing the hard drive yourself (assuming that's the problem, but there are no other moving parts that will cause 'horrible noises' ). Lots of info on the web about this, e.g. http://www.ifixit.com/Device/iPod_Classic It might seem daunting, but what have you got to lose when the worst case is that you'll have to just buy a new iPod? It'll be interesting to hear what the Apple Store says though.

[quote name='Dingus' timestamp='1386351076' post='2299208'] Contrary to some opinions people are expressing by implication , using better quality power cables can in certain instances make tangible improvements to the overall sound quality on some audio equipment, including bass amps and cabs. Have the people who are scheptical about the effects of cables actually listed to an A/B test and heard the difference? I have, and can attest to the fact that in a lot of cases better cables can bring out a pretty dramatic improvement in overall sound . [/quote] Was it a double-blind test?

I think we used to buy them for about 50p . . . . in 100s mind.

Given that most people seem to be in the "I'd expect a lead but wouldn't be bothered if it wasn't included" camp, how [quote name='Jonnyboy Rotten' timestamp='1386346520' post='2299120'] Of course you can! You never said you wanted it delivered! [/quote] . . . and if it isn't included in the delivery, don't worry because most people have a spare or can buy one for abut £1.50. Er, hang on . . . .

Lot's of angles to that question, but I'm basically happy with being adequate enough to play minor gigs and parties that everyone seems to enjoy. I know there's a massive amount of room for improvement in my playing and theory and my limitations would prevent me from earning a living from playing music, but I'm ok with that because it's not an ambition. I can't slap or improvise fast solos up and down the neck, but that's also ok because that's not an ambition either - if it was then I'd be putting in more effort, which I don't because I'm basically happy and have loads of other things to fit into my available time on this planet. Guess I've risen to my own level of mediocrity and am happy enough.

Flight case? I'm sure how rough the oversize baggage handling really is but my lad has taken a carbon fibre kayak & paddles to three continents with no damage and only bubble-wrap packaging to prevent scratching.

Why spend £20,000 on a power cable? That would be ridiculous when you can get one of these for less than $7000: http://www.amazon.com/AudioQuest-NRG-WEL-Signature-Series/dp/B0055OM9WS (The reviews are pretty funny as well) Of course, such things are only really worth buying if you're also using £5000 PER METRE speaker cables: http://www.pcpro.co.uk/blogs/2011/02/08/the-most-expensive-cable-in-the-world/

[quote name='cheddatom' timestamp='1386323018' post='2298666'] Totally agree here. When I first started gigging I'd stay to watch, but after a while you get sick of too many sh*t bands. If the band is good I stay, if not, I'm off home! [/quote] I don't know if it's 'expected' to to stay and watch other bands but I suspect it probably depends on whether people are just playing for the money or the enjoyment and camaraderie. After all, if it's just a job, who stays after work to watch the next shift?