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I had not intended to paint a cow that morning. The plan was to paint a fence.

Which patch of the original set do you mean?

Warm pad fade 🥰

OK...... I'm still on a HUGE high so please bear with me if I'm little over-effusive... On Saturday night my brand new Doobie Brothers tribute show 'The Doobie Experience' played it's DEBUT. It was at the lovely Shoreham Ropetackle Arts Centre and quite honestly we really couldn't have had a better evening, in every way! First of all, on arrival, we found out it was all but sold out (200 tickets!) with people having to stand all around the edge of the seated area! Then, we were meeting our own dedicated sound man for the first time and were thrilled at how good he then made us sound, out front and in our IEMs! It turned out I'd worked with him previously (with the Spandau/Duran show I'd depped in) so I knew he would nail it! He'll be with us now on most of our shows and has all the settings saved! Best of all though, the actual show was AMAZING - we played great (just a few tweaks will need to be made going forward) the sound was fantastic and the audience loved us! We actually had people actually queuing to shake our hands and thank us afterwards! It's those kind of nights that really make everything worthwhile. I can't wait to do more! Gear-wise I kept it more traditional (no Spectors! ) and played my Fender FSR PJ bass through my old GK400RB head and LFsys Monaco cab. Only effects were Chorus (1 song) and Phaser (1 song), both care of my Zoom B3. IEMs were KZ-ZS10's and my Sennheiser G4 system. Here are a few short phone clips from the night that show the different Doobie-styles we covered: Rockin' Down The Highway: Another Park Another Sunday: One Step Closer: China Grove: What A Fool Believes: Sweet Maxine: It Keeps You Runnin: Long Train Runnin': Takin' It To The Streets:

These were the ones I thought were strongest from a larger set of my candidates for inclusion in the factory bank. They don’t have any velocity programmed at the moment. Sometimes we collaborate on sounds where I’ll submit some and another guy in the team will tweak them a bit. The added complexity is the presence of the VA controls - ideally I’d want all factory patches to have stuff programmed so that the panel controls always have an audible and useful effect on the patch. I could certainly do some finessing but I want to hear back if the others like them or not. There are one or two which, with a bit more work, could make convincing upright bass patches, and probably superior to those I programmed for the C4 that lots of folks love. If they don’t make it into the factory bank, I’ll share them anyway.

So far we have @rwillett- A couple of 3d printed basses or guitars, this will encourage me to finish my next two off. A couple of 8" Basschat cabinets. Might be interesting to try these with other peoples amps. One is quite loud, not quite finished the other one so not sure quite how loud they go. Since I'm about 100m away, I might bring anything or everything. Might even bring and setup a 3d printer if people are interested. If there is any interest and you need something thats more than a few hours to print, let me know well in advance. @neepheid - Probably bringing the contents of a smallish country @Frank Blank @Stub Mandrel- TBC @zbd1960 - TBC @ossyrocks @lee650 @80Hz @peterjam @misterhank @GreeneKing @LukeFRC - TBC @jimbobothy - TBC

Calling @ped... I've just noticed I'm running short on BC lanyards. We have a couple of Bashes coming up in the next few months, any chance I can blag a few more, if you have some obviously!

The editor will have control over velocity depth and mid point. This should cover what you need. Panel control is a bit more limited. Most original DX7 patches have some velocity sensitivity by default.

What I find really useful is if the timbre varies with playing dynamics, allowing lots of expressive variation, but the actual output volume stays much more fixed.

Sorry, yes that’s what I mean. That’s really cool as long as it can be saved to the patch. I was thinking it might have a slider in the editor to set a specific velocity level like the Volca FM does.

I would want to be able to but also want it to be able to work at a fixed level, depends what you are doing. For a lot of 80s bass lines you want the sound to be very consistent.

I was first made aware of the paraEQ sweep thing when i was considering an EBS TD-650 head and it mentioned a particular set up to allow the sweep till you find the annoying frequency and all of a sudden it started to make sense. I even tried it in the studio who have EBS heads into Ampeg 810 cabs and it worked a treat. It really was quite a simple way of removing a troublesome frequency. Think next time i have an issue with a specific frequency i will experiment with that again. I almost always use a gramma pad these days so my sound is pretty steady in most venues. Out of curiosity i have tried without the gramma pad at some venues as a comparison and prefer to use it virtually all gigs. Think i just need to spend more time tweaking things at gigs pre-sound check. Sometimes its hard to get time to do that. Dave

Not quite yet but close enough for me to confirm that this year's Bash is definitely a goer 🙂 If more pre-payments don't come through as we get closer to the 'cancel with full refund' deadline for paying the hall on August 11, I'll give another shout.

Call Me is one I've done for years, really tough on the singer, Debbie Harry has an unusual range so . It's lots of fun to play for the rest of us. I love the complete switch to A-D in the guitar solo but keeping the rhythm from the verses in Picture This, dropping down to open strings at this point makes it feel like a bit of a break in intensity too. It just feels right. Throughout the songs there are so many tiny details. Interestingly he plays far more freely in their live performances. The other thing I'm enjoying is that so much of the playing is four to the bar. I've played so much indie stuff over the years that it's fun just to make the change and it then makes the 8-beat more exciting when you bring it in for a couple of bars then drop out again. I think I'm getting slightly obsessed here My big issue is that run on the F#m in Atomic, so many hand shifts, I'm still dropping the octaves at that point in rehearsals and working it at 2/3 speed in practice whilst gradually speeding up. Interestingly my opera singer/director friend tells me classical players slow things down a lot more than that and play really strict tempo on pieces where the tempo is an issue. It's kind of reassuring really that we are all human and effortless playing is hard work.