scalpy

When I play I look like a scarecrow getting electrocuted.

I saw them in 95 on the voodoo lounge tour. My girlfriend at the time and I exited the tube station at Wembley to see the stage (a giant metal cobra) sticking out the stadium, and realised our gate was the other end. A long wait ensued, but when the place was opened it was empty. Geoff Hurst didn't do a length of the field as quick as we did. Great gig, lots of bands can rock but they can roll.

A +1 for the d'angelo stuff, although after a few listens I felt the rhythm section was better than the songs. And that Christians track (song title escapes me)someone posted on here the other takes the Michael.

Jack my happy love whole. An arrangement of hit the road jack, happy and whole lotta love. Not a medley, we have vocals over different songs etc and finish with parts of all 3 going at once. Floor filler jaw dropper!

It's not necessary. Make money being a band anywhere in the country and then they'll come looking for you. Not that you'd need them then, you'd be making more money without them!

Timely thread as I've only recently started having a warm up routine. My band thing I'm a bit pretentious sometimes having my 15 minutes of scales, arpeggios and right hand exercises but I've found it's helped my finger stamina and lessened the strain on my wrists. Still don't play well in shops though, can't think of anything to play no matter what!

[quote name='Chrismanbass' timestamp='1427315937' post='2728902'] you've quite clearly never worked with a sound engineer who knows ANYTHING about live sound because i can assure you that most presets in digital desk (i'd be interested to know which ones you've worked with) are total rubbish and pretty much unusable. [/quote] Sound engineers I've worked with- Live The guy who did the Olympic opening ceremony at henley festival. London Jazz festival at the Barbican. Cheltenham jazz festival. Studio- I've been recorded by engineers who've worked with john giblin, Alan Johnson, guy Pratt, geddy lee and Paul McCartney. This is the top stuff I've done. I'm not saying they used presets. Hacking round the small theatre circuit and what passes for music venues in London now, I have my suspicions about presets at those gigs. Can't prove it. What I can tell you is that the top guys are always very friendly and helpful and you're much more likely to come across the 'I'm the expert' attitude a rung or two down the ladder. And I always ask whether they want pre or post and the top guys want post.

We try to a quiet band! Anything louder than acoustic drums is too much. Therefore we just rehearse with our monitoring. Which again we try to keep to a minimum. We have the good fortune of having a dedicated building (the guitarist has his own studio) bringing the extra perk of rehearsing with the drummer in a different room.

We're out in the Friday on the outskirts of the Forest of Dean. Our public liability doesn't actually let us play any further in....

1, and play it well!

Totally appreciate that MTT might have a bias! And I understand where you're coming front with the world music, I had Indian raga at the back of my mind as I typed. I still think a Sibelius symphonic movement might cover more ground than the examples given over the course of one piece. Over the course of an evening they might be neck and neck. The question remains if anybody in contemporary music is being as successful at expressing such depth of ideas, and I can't think of a genre or movement outside of very small intellectual circles that is. Off now to listen to some of the Brazilian examples you gave!

[quote name='Chris Sharman' timestamp='1427189551' post='2726803'] Set them up in the dining room the other day on Sound to Light running off a laptop through the stereo. Mr S was NOT pleased when she got home from work... [/quote] I set mine up in my classroom using sound to light. If the lights flashed th classes were too noisy. Quietest day at work ever, it was surreal.

Musicals can have the budget for big productions as well as movies. Whether or not it rivals the intellectual weight for want of a better term is debatable. Movie music is well known for its direct lineage to Wagner and Korngold but the former certainly tried to express more philosophical (however dubious) than the average here is the hero doing something heroic ideas of current Hollywood scores. Micheal Tilson Thomas says that contempory, African American based music is fantastic for dancing, reflecting joy and heartbreak etc, but it can only express one thing at time. Western art music can express many things at once.

http://www.thomann.de/gb/eurolite_led_kls200_rgb_bundle_plus.htm I hope that link works.... These are really easy to use, don't melt you, a doddle to position etc. I have used brighter led sets and really we needed two when doing an under lit marquee on Saturday but for pubs they're great.

Good idea for a thread. The dreaded term semi pro applies for me. I go from pub gigs through to sessions at major studios, just happy to be out playing. I wouldn't describe my playing as stellar but I can read most shows and learn material by ear if necessary. If I could do it 100% of the time I would, but I earn more having a day job and playing 70/80 gigs a year than the full time pros I know.

It's like any other job, you've got to have the right tools. (Which of course you can blame later if necessary!) if you were auditioning for an 'artist' gig, I'd presume it's highly unlikely you'd be given any dots or even reference material, the set list would be about it. Any sort of gig where the majority of the band is reading, you have to read. Round these parts reading drummers are like gold dust and one guy absolutely cleans up, picks and chooses what am dram weeks he wants to do. A friend of mine is technically a funkier and more profficient drummer- but doesn't read. No MD will take the risk on booking him.

They're going to sell a lot of those subs.

I'm the dictator! I do the arrangements for the band and run the rehearsals, decide on the set list and have final say on logistics at gigs etc. The hard part is not being too concrete in what you want. Audiences want character and performers can be fake if they are conforming to somebodies rigid expectations. Learning to let people have their input is hard but we're musicians right, we should be able to listen!

Elgar only wrote one piece for brass band, Severn Suite. Personally I'm in the loathe weather report camp love the pups, but it goes to show it's not genre people like about music but atmosphere and chemistry. These tastes change over time, I've also got the steely dan bug after years of finding them awful. Maybe over time the huge degree I find weather report's vibe agitating will lessen!

Johnny Colt of the Black Crowes and Krist Novoselic of Nirvana. Both had a great sound and the ability to absolutely nail the part to the drums.

Went through exactly the same thing, really not bothered and then someone posted Lingus on here and whack, my go to band. To cap it all the drummer on that record was a dep, only knew three of the songs before getting the call to do the record. Takes the Michael.

Don't drink coffee all day- a dark noisy room full of wired teenage musicians, no thanks. Do be nice to each other- patient, positive when listening back. If you've got a good additional guitar part for example, record it. It's gutting to get the mix back a go, it really needs x we talked about doing.

[quote name='Cairobill' timestamp='1425544844' post='2708309'] Ha ha - ditto - in a service station on the way out of London in north Kent I was about to use the facilities when McCartney appears and asks if his wife (Heather) could use the bog as the ladies was bust. As any gentleman would, I let her use the cubicle then I went on to use the stand up facilities. McCartney went as well saying thank you very much for the help... There should be a thread on toilet conversations with bass legends... [/quote] Friend of my was doing some work at a London studio. Goes to the toilet and all of a sudden there's a big bloke with tattoos and fuzzy hair stood next to him. That's right- he was having a slash next to Slash. Paul McCartney's quite good too. Same friend as above did a lot of work for him in the 80s and said all paul wanted to do was make music and be with the lads. Never mentioned his money once.

[quote name='wateroftyne' timestamp='1425474291' post='2707676'] [url="http://basschat.co.uk/topic/237894-ncd-tks-enginnering-content/"]This thread might give you something else to consider...[/url] [/quote] The only cabs I'd change to from my db112s. However, someone is going stick a dirty great Neumann in front of one this weekend and it's the best uber vintage on steroids sound I've heard.