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How did you get on programming the MIDI switcher?

A few things are incorrect here - with M/S recording, M is not track 1 + 2. M is simply track 1 and S is simply track 2. When they are decoded (easily done with a simple plugin, or you can do it manually), they then give an L/R output (instead of M/S). When decoded, L=M+S and R=M-S, and as you state, the difference gives the stereo information. When summed backed to mono, the S signal is completely discarded, giving strong mono compatibility from the (hopefully) well-placed M mic. With 'ordinary stereo', it's not always a crossed pair of mics. There are two fundamental approaches: *Co-incident stereo arrays (which is a crossed pair of mics, as close as possible to being in the same point in space) - these rely on the microphone polar patterns to achieve level difference between the same sound hitting both mics. So a sound coming from the left (for example), hits both mics at the same time (because they're in the same point in space), but the left mic will be facing the sound, and therefore picks it up stronger, and so when played back, the sound will appear to be coming from the left. For this reason, omnidirectional mics don't work in a co-incident pair because they're equally sensitive all round although in practice, you'd probably get some sense of width at higher frequencies unless you managed to get hold of a perfectly matched pair of perfectly omnidirectional mics... which I don't think exist!) There are many variations of co-incident stereo, using different polar patterns and mutual angles. Figure-8 mics at 90 degrees are the classic 'Blumlein pair', which gives great results in a good acoustic, but needs to placed quite far because the stereo recording angle is quite narrow (which exaggerates the width if placed close). Cardioid mic at 90 degrees is also seen often, but are often unsuitable and quite useless because the recording angle is so wide, it gives a narrow image where everything in front of you is bunched up around the middle. It can be useful to record ambience all around you, or when you have to really close to the source. Co-incident arrays usually gives a very pinpoint placement of sources, but can sometimes lack spaciousness. *Spaced arrays - In a spaced array, the mics are spaced apart (by anything from a few CM to a meter or two), and are therefore not at the same point in space. Because of this, they depend on [i]time of arrival[/i] differences to create a stereo image instead of level differences. Put simply, when the mics are spaced, a sound coming from the left will hit the left microphone before reaching the right microphone. Again, there are many variations using different polar patterns and spacings for a different recording angle, with spaced omnis probably being the most useful, and cardioids again being quite limited in their usefulness. Spaced arrays usually sound more spacious, but more vague in their imaging. A lot of the most popular stereo techniques (at least in classical music), combine the two methods. Common techniques such as ORTF rely on a mutual angle for level difference (like a co-incident pair) combined with a slight spacing between the mics for time-of-arrival differences (like a spaced pair). In the case of ORTF, it's a mutual angle of 110 degrees between mics, and spaced 17cm apart. All this is quite irrelevant to bass playing though... these 'proper' stereo techniques are about giving a fairly natural representation of an acoustic soundstage. They are treated as 'one system', not 'twi mics'. There are plenty of other ways to get stereo 'results' without taking the above approaches (drum overheads, for example, are rarely a 'proper' stereo technique, but the results are still fine), and of course it's quite common on acoustic instruments to use two mono mics panned apart (by this I mean two mics placed intentionally to pick up a different sound - e.g one by the bridge and one nearer the neck. It's not a true stereo array, but can give nice results in stereo.) but stereo feeds for your IEM can be very enjoyable as you can move sources around to match where they are on stage, or wherever you'd like. It doesn't matter if the sources are mono - they can still be moved around the stereo field. Your own bass will be mono of course unless you use stereo effect. And now I'm realising that I'm responding to something posted in January...!!!

Hi all, Having a play with a yamaha 734a this week. This has been on my wanted list for probably 10 years, or at least since they came out. Very distinctive look and cool. We'll, after 2 days I can say I love it. Granted it took quite a few hours to get used to. There is SO much tone control it's unreal. The passive p tone is absolutely perfect, yet the passive tone control (the treble knob when in passive) helps you dial it to perfection. Flick it to active and you've a whole lot more tone to dial with. Turn it to rear pickup and it's lovely and growly. Thinner and tighter. Put again either the tone control or active eq allow you to move to your taste. Personally I start at either end of the pickup selector, dial in a nice sound then move the pickup blend to either make it warmer and fatter or thinner and tighter. Works a treat. The bass is nice and light. It also has a lovely shallow neck. Both making it easy to play. This one has emg pickups, did they come as standard?

Result! Glad you got it sorted. Neither pickup is really to blame - if they're out of phase with each other, then it doesn't matter which one you reverse.

TV Dinners - ZZ Top

57 Channels (And Nothin' On) - Bruce Springsteen

Throw Away Your Television - RHCP again.

Insight(?) into our creative process 🤣

So, thought I leave this here for anyone in the future looking for an answer. I contacted EMG directly, but they were closed for thanksgiving, so only got a response back. They told me, that the culprit in here would be MM pickup, rather than P. Was advised to swap green and red cables on the MM connector. Using a needle you can release cable pins, swap places and connect back. Out of phase issue is fixed and it was a fairly quick and simple thing to do (had to ask my wife to use her little fingers to swap the cables, hehe) Attaching some pictures if explanation isn't clear enough. Picture 3 shows them using a screwdriver to flip the locking mechanism up. Cheers!

This thread is such a worthwhile read. Life events can take you (or your significant other) at any time without warning. I have had a TIA in the last 10 days, luckily I seem unaffected - the double vision at the time was an experience not to be repeated. It is good reminder that this is not a practice run

I picked one of these up in the black friday deals on Amazon for just over £50... game changer for me. Simple, effective and when combined with downloaded NAM files, as good as I will need to send a decent signal to FOH. I don't do a lot of FX anyway, but have ordered a chocolate plus for further control so I will be able to navigate patches easily and switch a chorus on here and there. I downloaded an EBS NAM file and a GR Bass cube NAM and they sound very close to my ears. I now have a the GP5 with chocolate plus going into a HB Magnum DI as my FOH board. Total cost about £90 for a versatile setup. Previously had about £700 worth of pedals on a board I just wasn't using. Now, a new bass and a £90 pedal board and I don't notice a dramatic loss in any way. Very happy!

It was a bass bought by the band, for the band. Not the actual property of BC.

I'm 'only' 46, but recently had my first proper health scare and these things tend to focus the mind on what to do with your life. I've come to the conclusion that everything is a balancing act and if it was completely 'live for the moment' I doubt the moments would could carry on being good and the living would probably get cut short! Many of the best things in life have to be worked at and have delayed gratification, playing music/being in a band included. With band stuff I did consider if it is actually worth my time and effort, the life balancing act means that is time I could spend with family, friends, fitness, career etc. My conclusion has been that it is worthwhile while it is fun and fulfilling as it isn't a £ earner to pay for other things in life. It doesn't always have to be the most fun ever though, sometimes it needs effort and pressure, highs and lows, bandmatres are humans and it is fine if they get moody every now and then - everyone needs to have a bit of slack. Likewise with things that initially seems very worthwhile e.g. Commit to 1hr of Piano a day, but really is it the best use of time/life? The delayed gratification of stuff like learning Piano is often worthwhile in the long-run and it is impressive that people have perservered with that long-term commitment but every time you see a great musician there is a real time cost and that time available is a finite thing. I have to say though, having mentally done this time audit, I don't think I'll ever look back and think 'I wish I watched more daytime telly alone', or 'I wish I spent more time on Basschat in my work from home hours' (sorry!). So I think both will get a bit of a cut-back. But again, it is a balancing act - just taking it easy, going easy on yourself and thinking 'that's enough effort for now' is often a good thing rather than constantly feeling like everything is strive and hussle.

Ah, see, I'm definitely not a fan of super bright strings. It's always been dark and mellow for me. Why I've never liked steels. Thanks for the help there

The Revolution Will Not Be Televised - Gil Scott Heron

Revolution 9 - Beatles

Did you find anything on this? Interested.

I'm using an LFSys.co.uk Monaco. 60 litres, 14kg, 600w. It goes very loud and you get plenty of low end. There are other spec LFSys cabs available and using a pair of 10" Monza or Goodwood cabs would give a very versatile rig. Remember that these aren't "normal spec" drivers and the cabs and x-overs are high end and designed specifically for delivering what we need as bassists by a bassist that spent his career working in that field. We're rapidly moving away from the 10" drivers sound like this, 12" drivers sound like that mentality of the past. Some of us attended a blind comparison of speakers/drivers recently and the results were very eye-opening. My amps are barely ticking over at stupid volumes through the Monaco in decent sized venues but the most important factor with these is that you can hear yourself beautifully from any angle because the dispersion is so wide and high. Edit: Worth adding too is that next month I’m starting playing with a indie/rock covers band that does quite a few decent sized gigs with just a vocal PA and uses backline to fill the room with sound. I have absolutely no doubts that my single cab rig will be more than adequate for the job and would be ample for much bigger rooms. This video from last weekend (outgoing bassist’s last gig, not me btw) gives an idea of the venue size played with just vocal PA.