57vintage

Yep, we did it too via minisdisc direct from the desk. Jenny is most helpful if you ask.

I agree, apart from the "merely" bit. As our old drummer used to say, "When you lose the bass, the arse falls out of the song". I like the description of the rhythm section as "the engine room". It makes me feel like I'm playing the Neil Simpson midfield role.

Good lord, we older lower octavers worked for years with flatulent-sounding speakers and tinny amps, always questing to get the CLEAN sound we wanted. Now you guys want to muddy it up? WTF????(

I concur. I bought it on vinyl many years ago and just recently replaced it with a CD. An overlooked classic, although Planet Rock feature tracks now and again. He played at The Lemon Tree late 2005. It was packed out with ageing heads like me.8) He was in sparkling form. Strats and two Marshall plexi heads with single 4x12s pumping it out. As well as the guitarwork, Jimmy Dewar's voice was very very impressive on Bridge of Sighs. Sadly, he died a few years ago, but Davey Pattison, his replacement, is top drawer.

Kincorth loon Billy Bremner (Rockpile, The Pretenders, Kirsty McColl etc) was in town last July and played a few songs with us. His guitar? A Squier Tele, modded with the three brass saddles and upgraded pick-ups. It sounds fantastic. BB's talent, of course, would also be influential. I have a Mexican Nashville Tele. It's wonderful. Through a Peavey Classic 30 I can sound like Steve Cropper or James Burton (with much less talent, obviously). The best thing is that my mate imported it without paying the tax (naughty) but didn't take to it and sold it to me for300. It's worth at least 550. Result! All it needs is a mod to put a push-pull switch, possibly on the tone control, to knock out the extra middle pick up when needed, to get the authetic Tele twang and squeal. I'm working on it. 8)

I've been using the TU-2 for 18 months. It works fine and is extrememly visible on a dark "stage". 55 + P&P from http://www.soundslive.co.uk/product~name~Boss-TU-2~ID~743.asp

Thanks Bob, that was magnificent. Rodney Crowell standing at the door to shake hands and thenak everybody for attending? No. Thank YOU, Rodney. THAT'S what public service broadcasting is all about. Fuck off Rupert Murdoch.

Ah, but the later version, after Wyatt had done his "without a parachute through an upper floor window" bit, was called "Matching Mole". Why? In French, "Soft Machine" translates to "Machine moule". You can guess the rest. This thread remind me of the story about the young Native American brave who sought out the elder sage of the village. "Where," he asked, "Do our given names come from?" "My son," expounded the elder, "When a child is born, he or she is named after the first thing observed by the proud father once the mother has given birth. For example, your own father is called "Running Wolf" because your grandfather observed a member of the vulpine species running from the reservation into the forest just after your father was born. Your brother Two Rivers is named thus because on exiting the tepee after his birth, your father looked out over the landscape and his eyes settled on the sight of the confluence of the two mighty streams which water and protect us." "So," continued the brave, "My uncle is called Blue Mountain because the sacred mount appeared from the mist after he was born and my grandfather observed it?" "Yes indeed", responded the sage. "And," the brave went on, "My sister is called Prairie Blossom because she was born when we were at our summer camp in that flora-abundant location which lies in the direction of the setting sun?" "You are correct," said the wise man, "But I am busy. So, Two Dogs Fucking, do you have any other queries, or is that it for today?"

I'm playing at an unplugged fundraiser in a couple of weeks, me on electro-acoustic and the NE's best country-soul singer emoting over the top. We're keeping it simple gear-wise. 2 JBL 15" FOH speakers powered by an 8-channel desk a tad reverb and perhaps the occasional bit of chorus on the 6-string. We'd like a very rough recording of the show, but rather than set up microphones and have to worry about the balance etc, I thought we might be able to set whole-gig levels at sound check and take the sound off the desk straight into my minidisc recorder (which I would set on auto level to stop clipping, obviously). Any advice on how viable this might be and of the best way to get a 2-channel mono signal from the desk into the mini-jack line or mic inputs to the MD? Quite happy to raid Maplins for leads and suitable connectors. The taxman will fork out for them, obviously. 8) Or is this a no-go?

I have a Shure SM58 and it is excellent for onstage work, both vocal and instrumental miking, although an SM57 is better suited to the latter. I bought a Sennheiser e935 and it is the canine's knackers for stage work and does a good job in the studio too, with no need for phantom power. 109 online from Sounds Live. The SM58 now sits in the case and is used only for back-up, but I know it will be up for the show if called off the bench.

Not bad at all young fella. I liked track 3 "The Test" best. I was never the most convincing foot-soldier in the 1976-78 punk wars, so I quite enjoy the melodic dynamics of "The Test", reminiscent of stuff (go on, I dare you...) I was listening to and trying to write back in those pre-digital days. Not THE Barry Grant, surely????? He loved his ma you know. Good luck min. Ever considered reworking The Sash? No. thought not. 57

Offramp, Joe Whimster is still the contact at The Tunnels, even though he is based in Morayshire now. He's Phoenix's loon.

That's a shame for Steven, who I've not seen for years but with whom I attended school in Keith in the 1970s. Nothing on the bill really appealed to me so I didn't go, although I should have supported such a brave initiative in my home town.