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My comment was less about the musicians who use the stuff and more about the perceived value of the outcome. The software is great, of course. The fact that it’s either freely available or it provides you with a level of convenience that even my mum could knock out a 175bpm d&b roller (or whatever), and the fact that AI can essentially just do it all for you - that pretty much means that nobody listening values the music any more.

Looks amazing and very heavy !

Every time i hear Pimlico i automatically go back to the Ealing movie Passport to Pimlico. Dave

Security! He used the P-word!

Not at rehearsal stage yet but new Celtic Rock/Folk band now has Bass, Drums, Guitar and Vocals all brought together in last week so its starting to shape up. Still few others to find to get a truly authentic Celtic sound of course. No idea who the guys are or their ability but we'll soon find out once we get a few songs learned and get to rehearsal stage. Drummer is the one putting it all together. Fingers crossed. They are aware i'm in the Glam band but seem ok with it. Dave

I remember Les (Fruitbat) breaking his arm at our party in our insalubrious Georgian housing co-op house on extremely salubrious Vincent Square, Pimlico. I don't think the other residents liked having a row of what looked like punk squatters overlooking their cricket pitch-centred square - they called the police!

Hi Steve so for current production/more recent stuff I've tried the same bass (805MS) in the original transparent gray flat colour,the 705LM and the 605LM. All fanned fret and all using the T1 pickups. Long story short I've been very impressed with ALL of them. Those T1 pickups to me sound REALLY good. I think like you the far eastern licenced Barts do very little for me if anything. The T1s I would describe as a game changer. All 3 basses were ultra playable and the fanned frets took me all of 10 seconds to get used to. The 805 had the longest B string at 37" if that's important.

We did 3 in a row with Abdoujaparov at the weekend. They're lovely guys and such a good band. We arranged to share the drum kit and bass rig. The first night was the Golden Lion in Bristol. It's a pretty cool venue room at the back of a pub, but weirdly, the pub punters have to go through the venue to use the loo, which made the doorman's job very difficult. Even more difficult that the job was forced onto our merch guy last minute. A bunch of young guys tried to get into the gig, talking too loudly, over confident, and perhaps a gurn or two... anyway, Tommo our merch man made short shrift of them. Since starting my own venue I keep noticing all the little things I don't like in other venues. Here we had: multi coloured XLR, PA hanging from the ceiling by metal angle and wood screws, spot lights at pretty much 6ft from the stage floor (mild concussion), lighting rig attached to a thin piece of wood attached to some plasterboard... Anyway, it was rammed and we had a great time Bideford Palladium Club on the Saturday, which is a very cool venue, but kind of out of the way. The guy says he's struggling so if you're out that way please go to some gigs! The sound was awesome and the room is fantastic. Green room upstairs with a random selection of objects was good fun. Someone glued a fake Oscar to the ceiling but it was down again by the time I left. More japes - I'd noticed a parking fine on our van before the show. I waited until after to tell the others. It turned out to be a yellow PCN plastic document wallet with a random bit of notepaper inside! We have no idea who it was. I suspect the venue owner did it to prevent us getting a real ticket. The King Arthur in Glastonbury on Sunday. We knew ticket sales were low, but we know a couple of people who live in Glastonbury, and it turns out they had no idea the gig was on. They've not seen it on posters or in local press or anything. There were loads of gig posters on the outside, some from last year, some gigs coming up, and a big brand spanking new gig list with Jan, Feb, Mar on it, and no mention of our gig. We got inside, the sound engineer is the guy "promoting" the show. Our frontman asks why there are no posters around and SE says "We did have some up". Our frontman laughed and asked "Were they nicked?"... SE obviously feels a bit awkward and goes on a rant about how he's not allowed to put posters up around town any more but FFS he might as well have forgotten he booked the gig at all. Apparently his door staff called in sick last minute too, giving Tommo the job again. SE chews my ear off about drums and gear while I'm setting up, and I know I should have seen this coming, but he said he needed 10 minutes to plug everything in, so we went to the shop, and on my return this f&^%$er was sat playing my kit. This might be snobby but I spent more than £3K on my cymbals and I don't let anyone play them. I let him know I wasn't happy, he got awkward and defensive, and we got on with sound check. To be fair it sounded excellent, he really knows his stuff, but by this point I'm losing the will to live. Abdoujaparov played first, and they were great, but obviously playing to 10 people in a cold venue gives a different vibe to the previous two days. I tucked into the beers and did my best. It was a long drive home to Stoke!

Really? IMO the only people who should be worried about the rise of AI electronic music is those who up until now have been content to produce pieces that simply mimic and reference their influences without adding anything new of their own. And stop being nostalgic for the old days. I certainly don't miss them. My studio now fits entirely on my desk and with everything contained within my DAW there are no incompatibilities. I've no desire to go back to the ways of working in the 80s when in order to connect everything together I had to contend with two different CV standards, 2 different gate standards, 3 different types of clock as well as MIDI in order to get everything to talk to each other. I don't miss peering at the letterbox sized display of the Roland Micro-composer which could only show me one note on one channel at a time. The early MIDI sequencers weren't much better, and often it was quicker to have another go at playing what you wanted rather than trying to edit even a couple of wrong notes. Using a DAW hasn't stemmed my creativity. It's opened it up because I can see everything at the same time. All the sounds I program on the various plug-in instruments and effects are saved as part of the composition. I certainly get from initial idea to finished composition far quicker than when my studio was lots individual instruments and effects.

Dean Town - Vulfpek

Just bought a lovely vintage Trace amp from @King Tut, aka Colin, who - apart from being a really easy and great person to deal with - happens to own two fantastic Rickenbacker 4003 basses! 👌👌 I was on my way to a rehearsal unfortunately, so there wasn't enough time to stay longer for the obligatory 'bass chat', but I hope we can get to do that at some point in the future, because I know it'll be a lot of fun. 😁 Suffice to say that you can deal with Colin in complete confidence, Folks. 👍 Thanks a lot for the Trace head Colin, and here's to the next one... 😊 Cheers, Nik

Oh Deanna. Nick Cave atbs

Our guitarist/singer couldn't make it last night. He's had shoulder pain since before Christmas and has been on some meds for that waiting for a physio appointment. And he let us know yesterday that he was in such pain that 111 had advised he call an ambulance. Turns out the shoulder pain meds were not playing well with the cocktail he also takes for his back and it was giving him chest pains. Glad that the doctors know why he was having that issue. Doesn't sound fun and needless to say, he couldn't make practice last night! So a bit of an odd one. We hope he's well enough to at least sing at our gig on Saturday the 7th. I decided to bring my Fazley jazz bass along to practice with my Spector to see how they compared. I did the first half with the Fazley and it's such a lovely bass to play. The neck is super quick and very playable, but it wasn't quite cutting through. I also missed my high C string for my usual CGCFC tuning. It just brings an extra element that I feel is part of my sound for the band when I'm doing big open three octave hits. The Spector for the second half just cut through perfectly. The sharp fretboard edges are quite annoying though. I'm going to need to roll those. I've been spoilt by the entirely rounded edge of my Dingwall! I also put the Mojo Mojo and Bass Big Muff back into my effects loop of my GX-100 for practice yesterday. It's a different texture to the options I have in the Boss unit and I fancied having that available again. I think there's one song in particular where it works better. There were other bits where I think it didn't work as well as the fuzz I've got from the GX-100. Completing the gear was my trusty Laney Digbeth DB-500H head and the practice space's Ashdown 810. It's such a joy being able to use an 810 regularly! I love big cabs!

paging @Andyjr1515 the control cover on my swift is held on with magnets, I'm guessing he could point you to where they were bought from (it works very well on my bass) Matt

Another thing I would check if the new string doesn’t sort it is the nut slot height for the string. If the string is slightly thicker than the old string, it may be sitting higher in the nut slot. Also check your relief again, too much relief may be causing a bigger gap and more movement therefore sharpening the string especially 7 - 9th fret where relief may be greatest. This is the order I do my setups; Set relief Cut nut slot correctly check relief Set action check relief Set witness points Then intonate at 12th

(said in fun) Hmm.. I wonder what an AI generated message board squabble would look like. How much time it would take (1ms?) to generate and how many characters it would need (a zillion or two?). That could be the new tech fun, get AI fighting itself! Anyway, I think we humans are in a new era where we have to double check what we see and hear, ask if it's AI fakery. I think it's the intention of "the powers that be" to confuse us, so we can't tell what's real or their propaganda, they know most people won't bother to ask, they will just believe what they see/hear. What makes humans human is, the ability to ask.

Interested to know from people that have played these - given that there’s no tone control, where would you say the tone sits? Is it fixed wide open, in the middle?

Check my YouTube channel for a video later today. Exciting times!

It's great to see a fun finish. Don't get me wrong, black and white basses are all well and good, but not exactly much fun. With Sire and Sterling now doing swirl and sparkle finishes, bring on the the fun revolution!

That's a great question and I had to think about the answer. Part of this is that I rely on experience, I've spent a lot of time building and modifying cabs. When I build pairs of cabs I'll often try modifications on one cab and then A/B them next to each other so you do get an instinct about small changes The first thing is that the efffects are slight. First of all most of the 'sound' of the speakers is what goes on above 200Hz and the box modelling is about the response of the true low end below that frequency. The other David has tried the cab out as a sealed cab andit 'works' and it probably sounds OK, even though he will get 3db of boost of the low end with a port plus a lower roll of frequency. Secondly the calculations give incredibly percise answers but in real life it's a bit messier. Manufacturing tolerances mean measured speakers vary and the published figures I use can't always be trusted. Thre are always air losses from a cab which are allowed for in the calculations but I use a 'standard' value of Ql=0.7 which is middle of the bell curve. Importantly I then build the cab so ay significant error would show up. I'ver no control over how accurately people build the cab so calculating port sizes to 3 decimal places doesn't make much sense. You can build the cab successfully even if you make small mistakes, which should be reassuring Anyway I've looked at the responses with the same tuning and the box sizes increased and decreased by 10% but tuned to the same frequency. This is the box you are all building with the Fane in blue. You can see that increasing the cab by 10% (red) gives you a bit more bass but reducing the cab 10% makes a smaller difference. The red trace gives 1db extra at 60Hz and you'd hear that with the cabs next to each other but only just. You wouldn't be able to detect the difference with the smaller cab in this case. This is a 2l shift in volume and the increase in port size is only 0.2l so insignificant. It looks like my instincts were good in this case, Phew