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I just happen to have one of these in the classified at the moment for the knock down price of £100 posted.

Cheers BRX. That’s really helpful. I met with the drummer yesterday & got a drum take as a wav. He’s going to redo it, as there’s some changes he want to make to his playing, but the kit remains the same. So I can use that to work with & then hopefully just replace the wav with his new take & it should sound the same. The only vocal take I have for now was recorded on my phone. We’re all meeting at the end of August (& more regularly from then), so that’s when I’ll get a good vocal take. My goal here is to have a near finished sound with my parts for when we meet so we can get the best from her vocals. I’ve taken your advice & carved some mids out of the synth that does the intro & chorus sounds (& high passed down to about 2k for now) & it’s made a huge difference, so I’ll definitely be taking that approach with the other synths too. The bass sound is made up of 3 synths. Serum provides the sub 300hz sound which is constant throughout, Massive provides the acid like top bass sound at the start & in the chorus/break, which has heavy high & low pass filtering (all that gets through is 250-1100 hz), and Pigments provides the top bass sound for the verses (the more muted short decay synth). Though I’ve just realised that both top synths do go below 300hz, so that could cause issues between 200-300hz with the sub. I’ll play about with that, but might well end up using just the 1 synth. I’ll take your advice on the mix. Like I say, I do have her vocal part, but not the greatest recording. However, I can use it to get the drums & bass sounding good with it, then bring in the synths. I can then do any tweaks when we meet up. Thanks for your feedback. It’ll be very helpful & is really appreciated. 😎

I had the 'pleasure' of using this very same studio a couple of weeks back. I was helping out a mates band when their bass player cried off. The PA was a shitshow, only one of the mic inputs worked and the speaker was blown on the bass rig. Glad I wasn't paying for it....

I’ve had a lot of use from a set of Pedaltrain Pedal Boosters: https://pedaltrain.com/products/pedaltrain-booster They are great for raising pedals in the second row so that the foot switches can be operated clear of the pedals in front. They do require some drilling though, as they are not very stable if secured only by Velcro.

Anthony Jackson's part on the tune 'Looking Up' from the 1989 Michel Petrucciani album, 'Music'. Another transcription I am proud of. 5 or 6 hours work but what a learning opportunity! https://bilbosbassbites.co.uk/looking-up-michel-petrucciani/

Such a cool idea but at £200 for my full board itd probably be better to invest in a decent pedal case. 🫠

Common people - Pulp

Well Sandberg finally replied to my email. The Electra VS4 no longer has the active/ passive feature. I pointed out that their website states it has and got an apologetic reply saying this was an error and they’d correct it. 👍😊

Anyways I have had the bass tube screamer for a few days and I love it, work the gain about 11 o clock and the blend(mix) set to 9 o clock it nails that very slightly overdriven bass tone I was after and the bass knob compensates for any loss of low end. The band all said that my bass sounded great too.

I used a 6x10 and route master in a pirate. Was fabulous! I get why they’ve gone to 500w rumbles though if that’s what bands are doing. I guess they aren’t using hearing protection either… that’s a recipe for serious hearing loss. Sad.

Some medium scale basses (I'm referring to my Alembic Series I) are a pain in the a$$ when choosing strings: having separate bridge and tailpiece, normal medium scale string sets are too short and regular long scale sets are too long (winding on the tuner post).

Here's an example of what can be had, on FB.

People Are People - Depeche Mode

Ive just had this happen to me recently. Got the Ampeg SGT-DI and although my WS90’s work fine most of the time, when the preamp is disengaged and the IR is on, my WS90 picks up all sorts of noise. Really loudly. Even when off. Cable and 2.4ghz Xvive’s are fine. Even with my EBS Microbass 3, just having the WS90 plugged in and putting my had close give a sound simply to when a cable is unplugged. When it’s on it s fine. Might be a faulty receiver. Again, no issues with the Xvive.

I guess the principle is that BVs should be secondary in prominence to the lead vox. But that will always depend on: - how strong the singers are relatively (key variable); - what mics they are using. Given the first of these, not sure it's possible to give a general rule?

Ducky, being as you're playing in a confined space at the moment, you only want something small for the time being. Maybe a small Laney combo, or a Roland Cube 100, or the super lightweight Fender Rumble 100. Bear in mind though, that these will need upgrading when you come to play with others in the future. So if you want to future-proof yourself, as it were, maybe the correct answer ia a used TC Electronic BG250 combo. These come in three variations, either a 12", 15", or 2 x 10" speaker(s) and can be had for around £2-300 used. Have fun!

Yeah he's taking his own Sansamp just in case no one else has a DI box. It's serving the same role as a "house amp" would do. I'll be taking the Tonex One and a passive DI box. FWIW, I am actually pretty happy I'm not having to take an amp - from memory this venue sounds pretty good and has great bass response, and last time I played there (I was on rhythm guitar at the time), my Marshall DSL40CR and chonky pedalboard were a nightmare to get up and down the 3 flights of narrow twisty stairs. Now I can just take one gig bag with my bass, IEMs, Tonex One and some cables and I'm done.

I once tried a Darkglass distortion pedal and it turned my (wired) setup into a noise magnet. The thing is, distortion introduces high frequencies, which therefore make things susceptible to high frequency noise.