scalpy

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.

[quote name='BigRedX' timestamp='1452002220' post='2945359'] The thing with these small esoteric bass amplification brands is that they are much more about the people who design and and create them then they are about the brand name. So when a big company comes along and buys up one of them, all they seem to end up with is some no longer cutter edge designs, and as soon as the old owners non-compete period expires, they are back with newer and better products under a new name. Fender and Genz Benz being a case in point. [/quote] Cue thread of the future: Barefaced bust up- will only be making 410s out of marine ply from that point on!

One guy I play with is the full fat real deal, just astonishing, but it hurts so bad not being able to make music with him frequently. He makes everyone sound better, in my case better than I really am! Good drummer= bass nicotine, very addictive.

[quote name='ambient' timestamp='1451834380' post='2943800'] In my opinion, we all play too loud nowadays anyway. I don't think 1000 watt heads are necessary, but that's just me. [/quote] This!

Tommy Cogbill. I go in phases of liking different bassists and genres, but at some point a Cogbill track will come on the radio or iTunes and blows me away with just how badass his lines are!

Photos are my least favourite aspect of being in a band, but what ever they ask you to do it! (Not a casting couch situation obviously!) but the problem I've had with bands and my own ability to be photographed in the past is I/ we get nervous and don't want to look stupid then you don't do anything interesting and the photos come back and you look like a dork stood in front of the canera and you realise the image is crying out for the angles and lines and shapes the photographer was asking you to do! Deep breath......

Hairspray is meant to be pretty tough, well done for getting through it! There's something about reading for a guitar based instrument that's particularly tough. It's been advocated before on here but before you play a note just read it through and just try and get an idea for what the tempo is, any rhythmic characteristics that may be a feature and of course any crazy leaps or time signature changes or such corners. We warm up physically, sometimes it's a good idea to do so mentally as well!

[quote name='Lozz196' timestamp='1451402907' post='2940192'] You know, I`ve listened to a lot on the radio today about Lemmy, all from fans, all calling in with their own personal tales of how they`ve met him etc, and the thing that has really come across is what a nice, down to earth guy he was. Sure he may have lived rock n roll, but it obviously didn`t stop him from being a thoroughly decent fella. And having read books by celebs as well, they`ve only ever had the same to say. [/quote] Never met him, but he did babysit for a friend. They used to watch trumpton on the sofa together!

[quote name='BottomE' timestamp='1451213706' post='2938788'] There is a wrong way to play this tune as evidenced by most incarnations that have come up in bands i've been in. Everyones playing the right stuff "technically" but the all important groove is missing. I think a lot of the feel is hard to replicate. Depends how self-critical one is. I always thought it sucked when we played it whilst others were more than happy. [/quote] That's how I feel. But then neither of us have Al Jackson Jr drumming, so it ain't gonna happen! I've slowly got out band part by part to adopt the Otis approach, (8 piece), just got to get the drummer to try that way, but I've never been in a band that doesn't have a drummer that doesn't want to play 'that' intro!

[quote name='owen' timestamp='1450472854' post='2933258'] Scalpy is obviously taking you all for a ride. A singer looking after the PA? Just SO unlikely. Who has EVER experienced such a thing? [/quote] I know! Plus he's a really great singer, books gigs, actually really does 'networking' at the end gigs that really actually does get more work and rehearses properly and takes criticism etc really well. All round top bloke. I cannot believe my luck!

The rennies of Rock?

Thanks a lot folks, I'll go to Steve the singer and try and deliver some sort of sensible synopsis of this thread! Looks like the solution he wants could be expensive, and possibly idealistic as I'm not convinced a mini sized system exists once subs are factored in. Interesting anyway and I've learnt a lot- thank you.

[quote name='chris_b' timestamp='1450222584' post='2930783'] I think he should buy what looks the best. [/quote] I hear what you saying and he does understand, but he's also fed up of trashing brand new cars chucking mountains of kit into them, so is looking for a new approach.

Will be trying out the hk elements then- thank you folks. Our singer is dead set against grey plastic boxes, and knowing his hectic schedule and the fact he has to drive minis (he's a branch manager) I do understand why, although I've used rcf 722s loads as they're the in house cabs at work. A bit surprised the fr800s didn't get a lot more love as this is basschat after all, but I didn't think he was that pleased with the idea anyway! Still happy to be in a band where the singer stumps up in its entirety for the pa!