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Easy Listener

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Posts posted by Easy Listener

  1. 3 hours ago, Phil O'Keefe said:

    I broke down and bought a Behringer Model D. Once I saw that the price had dropped on them by about 1/3rd, and that they were in the guitar pedal price region, I figured I’d later kick myself if I didn’t. It should be here by Wednesday, and I’ll report back after it arrives.

    Anyone else got one?

    They’re going at this vintage synth thing pretty heavily. I just saw their SH-101 clone is about to ship, as is their MS-20 clone, and the Obie clone is supposedly nearing completion too. I’ve also heard rumors about a possible Prophet 600 clone... but the one I’m currently awaiting is the Pro One clone, which hopefully will be released this spring. I’ll be an early adopter on that one. 

    That thing looks seriously awesome! It was completely off my radar. Thanks for the heads up. And yeah. Assuming it works, that's a steal!

    • Like 1
  2. 27 minutes ago, WRGKMC said:



    You really nailed it for me. One day I realized that, as a second job, I could make more money delivering pizzas than being in a band. And since I wasn't in it for the money, and the crowds are not that appreciative, it was time to move on. 

    It's kinda interesting that this point was really driven home for me just last weekend. Some friends and I went to a Bardstown bar to have a meal and in the bar were about 12 people and a solo guitar player. And half the people were his wife and a few friends and thier wives. Sure he was good, as are a few hundred thousand other human beings in my country. So what? 

    And what did it pay for the amount of work he put into it?

    What caused me to quit was that the only reason I ever did it was because it was an enjoyable activity, but the "fun moments" were so rare as to be almost non-existent. One day I realized that, even though intellectually I didn't believe it, something inside me still yearned for being the "rock star everyone is cheering". But not only is that never gonna happen, but even for those rare individuals for which it DOES happen, it gets old. 

    I like playing in my church. That's good enough. I have plenty of other hobbies.

    And to be frank, I wouldn't wish it on anyone as a career, with the exception of session musicians. Then it can be a rewarding job, though I don't know how much it pays these days compared to the old days of the Wrecking crew and the musicians in the Frank Sinatra, Doris Day, et al instrumental work. Or even the guys on Herb Alpert's stuff.

    One real downside is that for me to really enjoy music it needs to be special. That is, the lyrics, the arrangement and the musicianship. And most of the pop music from my day hand little of any of those things, though it was there on occasion. It's amazing how little talent/skill was necessary to be a hit in the 50's and 60's. But there were some magic moments at the Troubadour. 

  3. 8 hours ago, Grant Harding said:

    Being in a band is becoming like being an opera singer in the 70's. There were lots of people that loved it, but it was niche and confined to older people. 

    I get joy from jamming with like minded people and I avoid gigging now. The last thing I want is to bust my ass for people that don't appreciate it. 

    That sums it up more succinctly than I did. Thanks.

    BTW, since I stopped gigging, the back problems went away. :)

    • Thanks 1
  4. I've been in 17 bands. I finally gave up. I may do the duet thing or even solo, but the band thing is just too much work for too little reward. It hasn't always been that way, but then, we haven't always had all the other electronic distractions. This is why the Circus is not what it used to be, and neither is live music. 

    Someone once said that there was a time where all you had to do was throw a "live music" sign up and people flocked to your place. Those days are long gone with the exception of places that are known for booking really good bands that are paid way too little for the work they put into it.

    It just seems to be the way it is.


  5. 6 minutes ago, Telecruiser said:

    Carol Kaye told me that most of the players for the TB in the studio  were studio folks. She told me the name of the guy who played Herb Alpert's part but I don't remember his name.

    That would honestly not surprise me that someone else played his part. Come to think of it, wasn't he the trumpet player for The Committments? :D

  6. I agree that back in the late 50's and early 60's they seemed to really have it down to a science. And fidelity was critical back then. 

    My hobby is vinyl, and I am constantly amazed at the quality of the masters used to create some of my older LP's - Even some of the live stuff. This is probably not relevant in your case, but before the oil embargo, they were not really using any recycled vinyl, meaning some of those old pressings also sounded pretty impressive.

    One artist I recently rediscovered is Herb Alpert and the Tijuana Brass. Sure, some of the recordings seem to be influenced by the Wall of Sound, but some are truly amazing, as are the arrangements and the musicianship. There is a reason there are a couple of copies of that stuff at every garage sale and Goodwill in the country. He sold a ton of it. People liked it.

    I have not figured out how to post videos beyond just including the link, but this is relevant, I think. It's called "Recording, '50s style: 



    WTF are you talking about?


    You read contracts. You then choose to abide by what is in the contract or negotiate. Once you come to terms with the other party, you sign the contract. You then abide by the contract. If someone violates the contract, the other party can sue.


    i.e. I'm not seeing anyone getting screwed here. Yet...

    • Like 1
  8. The older I get' date=' the less supportive of intellectual property rights I become, particularly with popular music. Taylor didn't invent I, IV, V, mVI, or breakup songs. She got rich and famous doing something that millions of people do for free in their spare time. So she signed a lousy contract: live and learn.[/quote']


    Adults understand this. It's pretty simple and effective.

  9. It might be a mic, or a guitar, or a keyboard - whatever... what's the one piece of musical equipment that you either once owned and lost (due to selling it, theft, accident or whatever) or that you had a chance to get and passed on, and that you now regret the most?



    I had a Hitachi separates based bi-amped hi-fi that I bought in the mid 70's. Around the turn of the century, the woofer amp lost a channel and, instead of bothering to fix it, I just tossed it in the trash. I should have paid to get it fixed. I blew it.

  10. Any artist / band' date=' any genre - who IYO has had the best three consecutive album run? [/quote']


    I'll go with Genesis.


    The run, in total, for me is:

    Nursery Cryme


    Selling England By the Pound

    Lamb Lies Down on Broadway

    Trick of the Tail

    Wind $ Wuthering


    If I had to pick a sweet spot it would be Foxtrot through Lamb.

    • Like 2


    Rule #1: Music is supposed to be fun & enjoyable.


    I know I mention that last in the article, but it really should be the first rule. If you're not getting that part right, none of the rest really matters very much IMO. But there's a balance that should be maintained. Things can be too strict, serious, and judgmental (which can kill all the fun and enjoyment), but they can also be too loose, flippant, and carefree to the point of being careless - and that doesn't work very well either.


    There seem to be more bands that are lazy and loose than bands that are too strict and serious, at least from my experiences. YMMV on that, but I do think it's important to try to find a good balance that works for everyone.


    This is why I just stopped gigging. It wasn't fun. I'm certainly not in it for the money so if it isn't fun, there is just no point. And it wasn't fun because the bands I was in were mind bogglingly poorly managed. They were "good enough to get gigs". I want to be better than that. It takes at least SOME serious rehearsal, but we can still have fun.

    • Like 1
  12. I used to come here more often back from '97-'07 or so. The 'new' forum really did kill 75% or more of the regulars, but I mostly stopped coming daily because I generally browse here during work and back then I had boring tech support jobs with downtime. Now I'm higher up the chain and am always busy. I still play in the same coverband as 10 years ago, still chase gear and tone, just don't get to chat about it as much!


    Also, it's kind of lonely in here too :(


    It's been about four years since the last time I was here. It's really dropped off a cliff. I'm going to go check out the off topic forums.

  13. I have to say, at first, I was like, hell yes we need to get serious and use these suggestions...


    Then, I thought back to a recent band I was in that did actually follow those rules, not literally, but for the most part, the same rules.


    It was a Rush tribute band, and I LOVED the music, but hated the band. Everyone was incredibly talented, maybe even gifted.


    The issues were, (not in any particular order):


    The guys seemed too serious, conversation was uncomfortable and awkward. No personal meshing

    No alcohol, the room needed to loosen up, I needed to loosen up, and had no method to do so

    Stress, knowing every little mistake I make would be noticed, recorded, and evaulated later. I made FAR more mistakes just because of the reasons above combined with the dirty looks every time a mistake happened.


    When they kicked me out, for not being good enough, I was relived as much as disappointed.. I really can play the material note for note, and can mimic most of the tones pretty well, I have the talent and the gear, but it dawned on me...


    The drummer in my cover band is laid back, yet a total rush fan, and we often break into various Rush songs on a whim, and I don't make the same mistakes, I'm laid back, and nailing it. That's the difference.


    Nothing wrong with some structure, but writing a rulebook, especially when nobody knows each other well or at all, is a recipe for disaster.


    It's worth noting that these guys who formed that Tribute, that they failed over and over and over to successfully launch anything. When I joined up with them, it was about revision #5 or so, I'm told that they are past 10 at this point. Sure, they were d-bags, but in a rule-oriented, way too serious kind of way. Talent is great, but wasted if you can't lighten up and make the experience enjoyable for the other players in your group.


    After reading your post, I don't think the problem with that band was the use of those kinds of rules, but the execution of those rules. The line that really jumped out at me was this one:

    "... the dirty looks every time a mistake happened."


    That is an attitude problem. People can be serious, but still forgiving. Well, unless you just really suck. ;)

    • Like 1
  14. Thanks for checking the article out folks! :wave:


    I just discovered this.


    Last year I gave up being in gigging bands for good because of stuff like that. Well, except for one caveat: I will be the BL of my next band. However, I can't do that until I get my rehearsal space completed (really, my large garage, which will be used, among other things, as a rehearsal space). And when I do, that article is going on the wall and being handed out to band members.


    It lays it all out, and effectively so. Thank you.

  15. What is it about insanely talented people? I know some musicians that are on another level talent wise but often their lives are a mess. Never mind the substance abuse but their relationships are often abusive or they can’t hold a job together. I know there are always exception to this it’s something I have noticed as I got older. It’s like they can’t get out of their own way


    As an oldster, I'm amazed to see some of the wisdom (that normally only comes with age and experience) in the lyrics of some very young artists over the last 70 years. I have a feeling many of these people had a very hard or interesting childhood. With it may come the incredible lyrics, but also the skewed world view behind it that brings its own demons.


    "Gotta pay your dues if you wanna play the blues, and you know it don't come easy."

  16. I fail to see the connection between a "DJ Crowd" and violence. Seems pretty.....situational and based on the individuals there, not so much on what type of music is playin. I assume the DJ's play standard top 40 stuff? I would understand if a hip hop DJ brought a bad crowd, but I really don't think you can even relate the stabbing and the presence of a DJ in this situation.


    Same thing happened in a place I lived a while back. A place that had bands switched to DJ's. It attracted a completely different and dangerous crowd. And there too someone was shot to death in the parking lot. They closed down and eventually came back with live music. It really is a different crowd. Quite obviously so.

  17. That's really good advice. My weakness is seeing diamonds in the rough when what I'm actually looking at is a lump of coal. I've learned that when it looks like coal, it almost certainly needs a lot more time and pressue to be a diamond. More than I'm ever going to have the time or inclination to apply.



    If the OP had some nice passive tops but was still using a box mixer, I could maybe see the argument for staying passive and getting an unpowered mixer and a power amp. However, since he should likely replace his tops before he gets a sub, then an all active PA is really the way to go. And this comes from a guy that is still largely passive.


    Plenty of discussions about passive versus active speakers, but actives have processing and protection applied to a specific speaker. Those kinds of features are hard to beat. Also with powered speakers there is no need to switch amps, since the correct one is used in the first place. As well, the argument that if your spekaers blow the amp is still okay, can be turned around. If one active speaker blows, the other is still okay, but if one power amp blows, neither speaker will work.


    Sub placement can make a difference in how low end projects, but he doesn't have a sub yet - at least not that we know of.


    I do agree that if after purchasing some good tops the OP still feels the need for a sub, he could very well get along with one. I've seen (and had) many instances where one sub will do.


    BTW, you know your speakers better than I do, but 150 sounds high for 15" cabs - although I guess if it's working for ya....


    The only line I disagree with is the last one about 150. And truth be told, that is just for experimentation. Since we have a sub on each side, I was happy to let the subs go that high and spare the 15's as much as possible. One reason was that I own the tops and the guitar player owns the subs and he tends to play everything way too loud. If he blows something, I want it to be HIS speakers, not mine.

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