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I attempted some dub for this month's composition challenge!* *this is definitely not a blatant attempt to get votes 😁

Just as an aside, what is peoples view of the treble side being the longer side of the pickup on that P bass? Seems most do it the opposite way with the B-E-A being the longer side of the split P.

Yes to this! I've taken on students from other teachers and there has been, well, lets just say, a certain amount of retraining required. Not just theory and technique, but the way that they have been taught previously. For example, not being able to retain information or identify theory elements. On top of that, "teachers" being unable to identify the student needs and that each of us absorb information in different ways. This week alone I am probably 10 different teachers rather than a one-size-fits-all course trying to fit paying customers. Thing is, for a new student, how will they know this is what they are walking in to? It's difficult. I try to explain my 'ways of working' as best I can and openly invite new students to feel comfortable to choose if they wish to progress with lessons with me. I'm lucky I guess, I have a long waiting list. Oh and to answer the question about lessons and online - yes it can be helpful having more than one person explaining the same information as it can aid retention. I also like it because I ask my stidents to challenge what I teach. It also always opens up new conversations and avenues for lesson content. The comment about finding a teacher that inspires you is really important too I feel. Someone who is excited about their subject. I have kids and my eldest is mature enough to identify which teachers she has are tired, bored, fed up with their jobs or lack the acumen to be effective. I'd hope that if I ever get to that point, I move on to something else that fills me with as much joy as my current career.

I've just seen the 2027 dates and I live close to Helsinki, the last last gig on the tour. I'm not surprised Geddy and Alex want to go out and play live, as they obviously enjoy it (more than Neil I think who wanted to stop touring and G & A were disappointed but respected his decision) so I think something like this was inevitable (after all the alternative is to give up something you love doing?). I'm pleased they've got Anika on drums as she'll bring a different spin. She's technically proficient to play the songs without being a replacement Peart 'sound-a-like' which would be the wrong way to go and from what I've read the guys really enjoy playing with her. I'll definitely be going, I think the only element of concern is obviously Geddy's vocals... hopefully he'll have some guest vocalists but otherwise we'll enjoy it for what it is.

I was there when Blur clashed with Prodigy (2010?). I lost the argument and we watched Blur and it was boring. Everyone agreed afterwards that I was right and we should have watched Prodigy.

Reincarnation! - Belouis Some

Afterlife - Dream Theater

I've no issue with full disclosure ai labelling whether it be "fully ai generated", "ai assisted" etc - I think folk should be allowed to choose to support/listen to what they want in the same way that "free range" eggs is a useful label? But I agree that there is plenty of human slop out there! Would it be fair to say that 99.99% of original material uploaded could be regarded as derivative and uninteresting? Most successful solo artists / songwriters are using session musicians to lay down the backing tracks. It seems to me that the latter could well be a first music casualty of war with the new tech (just as software engineers, audit juniors etc are finding in their fields of work). Where ai is going to struggle to compete is full band live performances with no backing tracks - and that is where I'm going to be focussing my live bass playing. If we end up including songs that have an ai imprint rather than purely covering other folk's back catalogue, I'm cool with that - the human interaction with an audience will remain intact.

Heaven - The Chimes

I just googled that, thanks! I’ll have a look.

Cool thanks - how do you find the Pro version "Editor" for editing / changing parts of tracks you have already got that you're not 100% happy with? I guess that's where the Studio version seems to be a decent step up i.e. feels like a DAW with ai assistance for laying down the tracks?

Thanks for the tip on TRS to XLR. I just need to find a source for suitably low profile right angle XLR & TRS plugs to squeeze in! I'm currently using a TRS to TRS lead to go between Stomp & Colour box - and running the stomp output at instrument level.

I'm gonna disagree with the consensus here and say that Bass isn't an instrument you particularly need formal lessons and grades for (how many people here have done Bass grades vs people on a Piano forum? I'd say much more for Piano as it is more of a solo technical instrument that needs music reading) but Bass is a very 'sociable' instrument - you need to pay along with others to get the feel of what works with a band. So as soon as you can head along to a rehearsal with others, even to just listen in then try and do it. Things like the 'Bass method' books are decent. And there are so many free online resources. I'd say paying for lessons is a 'nice to have' rather than essential. Caveat being that I'm talking from my perspective as a gigging pub covers band sort of Bass player where I feel just listening to recordings to learn what to play, playing live for timing and knowing when to shut up are more important than reading music or knowing what Mode is playing. If you want to read music etc and play at west end musicals then formal training I'm sure it's very important.

From my perspective I miss the days when you could tell they'd written songs, and brought them to the studio, rather than assembled a load of riffs and figured out what to do with them. I also miss the classic bass / drums / guitar instrumental breaks... A Farewell to Kings, Digital Man, Freewill, Distant Early Warning, Marathon, Camera Eye etc. the bits of interplay you'd really look forward to. They're noticeable by their absence on most of the later albums.

I’d love to hear a less dense mix of it, I’m not a fan of Nick Raskulinecz‘s production. Paging Steven Wilson!

Interesting how people see things differently. Clockwork Angels is my 2nd most listened to Rush album after (of course) Moving Pictures; I get the imagery of the journey the protagonist is on and The Garden is a fitting finale. (That said, I like lots of other Rush albums too, so there may be a cigarette paper's width between them all.)

I'm so sorry to disappoint you there @Grooverjr 😞

Can you get a new nut and widen that, then you get to play the strings of your choice? I had Rotosound tapes on a Jack Casady, probably after watching that Scot Devine video, and thought they sounded good. The feel of them took a while to get used to, but they're worth a shot.

They are all Burns instruments. Artist Bass and Vibra-Artist Guitars from 1960-62.