scalpy

They gave us Buena Vista Social Club, we giving them the Stones. Fair swop?

Oh my word geek heaven. Thank you. All probably knocked out in an afternoon between 4 others calls as well.

+1 for bjork. I've always found I pay more attention to the lyrics with female singers. Janis Joplin and Aretha Franklin have to be on my list. Favourite male singer, despite the fact he launched Mustang Sally on the world: Wilson Pickett.

Mcalmont and Butler- Yes (I know Bernard's done loads of good stuff but that was a waste of a good partnership)

The Black Crowes at Wolverhampton Civic Hall in 95. Guitarists had 3 matchless stacks each. Insane. But when I was 14 there was a world record attempt at Hereford Leisure Centre that involved as many musicians as possible playing the same song for as long as possible. Shawaddywaddy were the time keepers as it were, I seem to remember the drummer being incredible. However, every wannabe rock star from the sticks rocked up, there was Marshalls and Mesas everywhere and it was a proper p*ssing up the wall contest. My ears literally imploded from start to finish and I didn't have a clue what I was playing the entire time. (Established my career early on)

A Levi's advert was my introduction to the Clash. Took a while for the penny to drop about the rest of the bands catalogue but get it now and am very grateful I got hear them, by hook or by crook!

Thank you,makes sense.

Anybody know why they stopped making the 60s P? I lusted after the sonic blue with tonerider tone control example mentioned above.

If you haven't already get something like an iReal pro app. Practice walking basslines, which are fantastic for putting all those scales and arpeggios into good use. Walking basslines also serve as a fast track into soloing over chord changes etc. Then in iReal you can change the genre so you can work on creating basslines that are suitable off the cuff, preparing you for working on sessions or with singer songwriters. Lots of people on here ask about reading, please don't learn. I'm not the greatest player by any stretch but I can read well and get at least 30 gigs a year out of it, as better players can't read, I want my work to keep coming in!

Definitely in-ears if you're touring with your own sound engineer. Whilst I've not done theatres of quite that capacity, normally more like 250-400, I've yet to experience a house engineer that has the skill set or inclination to fine tune the bass players monitor mix. The other thing to consider is what will be the least amount of work for other people. If you can be self sufficient, monitor yourself easily and get everything loaded without getting under people's toes you'll have covered most bases. Decent 500w head, good quality 112 and and good di should be top of the shopping list.

Hendrix on All Along the Watchtower. As if the three solos, all round general arrangement and reinterpretation wasn't enough.

Jazz funk, or 'groove'. Music only musicians listen to, belongs in the same category of human innovation as guilded lilies or cosmetic implants.

Each band I play for has a different approach but I've had to learn a few tricks for the one I organise set lists for. It's a function band, so we do the standards and do a few medleys and mash ups, and stuff in unexpected genres to keep things interested. As well as keys and tempos being mixed up we try and get a good balance between female and male leads and whether it's a guitar driven song or horns. My soap box subject is the amount of time it takes to go from one number to the next, I have a rule of thumb that we start the next number before the audience have finished clapping the last. However, we were knackering audiences out for a while so the first quarter of the set (of 2 hours) is mid tempo and not too in-yer-face. Once they've had a drink and we've got them rolling we cane it to the end!

Sir George Martin made a joke about me. In a very nice way.

Another anecdote but a friend techs for Cradle of Filth. A few years ago he said it was fingers crossed every country as you see what dual rectifier is provided. I told him I thought they were pretty much bullet proof (apparently a requirement playing some venues in South America!) but he said by the time you factor in valve life, temperatures, quality of flight case and age you've got no idea. So he bought a kemper, hires it to them and the sound is the same from São Paulo to Siberia.

I heard a story about one of her recording sessions, for 'cannibal'. Apparently she was late, so was rung up to find out when she'd arrive. 'An hour' she replied. No show after several hours. A call was made, and the process was repeated several times. Eventually the session was abandoned for that day. Turns out she was in Ibiza. The session was in London.

You like fenders, fancy a mm, do what I did- get a G&L!

[quote name='mep' timestamp='1454505472' post='2970303'] I saw them at Knebworth in 1990. Fantastic set which I really enjoyed. [/quote] Ditto! My thirteenth birthday present, first gig. Made cliff Richard look very, very, eye wateringly dull afterwards.

Mine's dialled on tube 100%. Occasionally I do shared backline gigs with LMIIIs and I hate them! They feel plastic to play whereas the tube option feels a bit more pliant and musical. Very cork sniffy I realise and subjective but like the best things in life, you only notice it when it's not there!

The step by step process to creativity in education is a necessary evil in many ways. When students meeting targets is a prequiste for the educator as well as accountability a prescribed method to achieve such goals is important. What is essential in this compromise is that the students are learning the building blocks of the skill they are studying and understanding the possibility of how to use these to their own ends. That's a whole different kettle of fish to manage in a classroom environment but with the efforts of educators like Guy Claxton it is easier to analyse how to design tasks that offer the possibility.

VPF and volume are the only controls I touch on mine. I just use it to posh up the tone a bit when necessary, varies between 10 o clock to as far as 3 in some situations, technically 'wrong' I guess but works for me!

There was a great classic album doc on this record. Apparently they flew Manu Katche in for the track. He sets up, they record a take, go 'that was great, Manu, now give us another one.' He goes 'Why? I've just played it!'

I flat out don't understand why G&L aren't more popular, even ones that have had their beating hearts ripped out in the name of modifications!

I love it. Wife is a massive radiohead fan but doesn't think it's a bond theme. Great bassline though.