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Nijyo

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  1. That's where I think you'll find the most difficulty. Songs from straight-up "rock" bands in the 90s often were deliberately designed to not be anywhere near danceable, much less be party music. Adapting pop songs to your group's style will probably be much more profitable.
  2. Personally, I think everything goes in cycles. What is old becomes new again. Look at the neo-disco scene and the bands that are aping the New Wave sound. I don't know when it'll happen, but I'm reasonably confident that "neo hair metal" will be a thing at some point.
  3. I'm probably going to pick up a Kramer Pacer Vintage as a backup guitar in Jan or Feb. That plan was almost overridden this weekend when I stopped in a GC that I hadn't visited in quite a while and missed, literally by a couple minutes, picking up an 80s Kramer Nightswan for a song. Some other guy had walked in the door just before I had, it caught his eye, and even though I "hung around" for another 45 minutes, he never let it out of his hands. Ah well.
  4. I figure you just get some string, tie it snug to the base of the connector (on the cord side) and then run that string somewhat taunt to a piece of gaffer tape on the unit. Gaffer tape will leave a minimum of mess. Not fancy, but the right taunt-ness should keep the plug in place.
  5. There are certainly a variety of good and bad aspects to this modern trend. My $0.02: Yes, by allowing people to record and post your live performances on YouTube (and what not) you're losing some control over your IP and image marketing, but, on the other hand, you're getting enthusiastic marketing by fans essentially for free (the value of which can be quite high). The flip side is that if you're an ass on stage that night, it's going to live forever (and, in the modern day, walking off stage because people are recording could certainly be perceived as falling into that latter category -- be careful). It certainly depends on the type of act you're in, too. If you're Loreena McKennitt and you're doing some sort of auditorium show, a bunch of people moving around trying to get good shots or videos can be really distracting to the rest of the audience. The positive for that sort of fanbase is that they're likely to be much more receptive to the request, particularly if its phrased as benefiting the other members of the audience and not solely the band. On the other hand, look at the 183920137201 Steel Panther cellphone vids. Not only do they encourage people to do it (how many "bootleg" clips of them at a Hard Rock show exist on YouTube? Surely more than grains of sand on a beach), but they often acknowledge and participate in the phenomenon, because audience interaction is a big part of their live show. A long time ago, in high school, an older theater student (whose name has been lost to an atrophied neuron cluster) gave me a bit of advice that's stuck with me throughout my life with regards to live performances: It's not about you (the performer), it's about the audience. I think, to large extent, that advice applies with regards to this topic. Would I, personally, go to a show and spend any time taking pictures or recording video? No, not really, because it would interfere with my perception of being in the moment for that short amount of time. Are there *tons* of people who, having paid to come to that same show, want to preserve that experience in some sort of digital format? Yes, obviously, absolutely. Therefore, in my mind, as a performer, there's really no benefit to *me* in trying to enforce my way of experiencing a show on the many people who prefer to experience it another way. It's not dissimilar to the 90s and 2000s, where instead of embracing digital distribution, many large labels desperately clung to physical distribution. Can I understand why they did that? Sure, but they were still just "pissing into the ocean", instead of adapting and surfing the oncoming wave.
  6. I suspect he meant using an iPad with a non-purpose-designed stand. Just getting one ye olde black metal stands and resting an iPad on it. Definitely has the advantage of being a standardized part (both on the part of the stand and the iPad), for easy replacement in case of either breaking.
  7. Wow. You either need to get your own conservative radio show or, well, see a psychiatrist. That ain't right.
  8. I'm less concerned with the judicial part, which will almost certainly be overturned on appeal, and more concerned with the fact that a marching band is playing something so staid and boring. For the love of god, at least throw some Chicago in there (my marching band played a lot of Chicago adaptions, so I may be biased.).
  9. Yeah, pretty much. I mean, I love this RG, but it's not exactly "custom shop" quality (though it is pretty nice for an RG-lettersalad, which is why I picked it up so long ago, much nicer "overall" than I had come to expect from a sub-$500 guitar).
  10. Hi All, I finally got around to playing with this again last weekend. I swapped out the string for another one (my usual .009 slinkies) and it didn't change anything at all (which is a good thing, as, overall, the instrument sounds fine to my ears now). As Caffeinated Cat, knotty and badpenguin's experiences seem to suggest, that's just how this guitar seems to be.
  11. Hi Chordite, I haven't had a chance to really fiddle with it this week. It's on my list, though!
  12. Thanks for the replies, all. The action is good and I'm not getting any buzzing, but I've jotted down the few other suggestions and I'll give them a look this weekend. If I remember, I'll also get that picture for DeepEnd! Thanks again.
  13. So, I've got this Ibanez RG(lettersalad) from about a decade ago (seems to be an Edge III trem, but I've got it blocked with a Tremol-No) For a while now it's been bugging me with a thousand tiny cuts of annoyance. After reaching my limit I finally went in and fixed up all the little things that needed fixing. In the process I found that the intonation for the 6th string was pretty far off, so I adjusted it to get it as close as I can for this particular instrument. The result being that the saddle for that string sits *much* further back (that is, towards the tail) than the rest of the strings (which also have their intonation set up correctly -- or, again, as correctly as I can get them; probably over-pickiness on my part there, though). This huge disparity in the saddle position of 6 vs 5-1 seems weird to me, though. Is it a sign of something else being set wrong? Or are some bridges just like that?
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