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@Wolverinebass has a point. Half of the sound is coming from the bass driver and half from the horn. So, how do you mic up? I made some quick measurements on a Monaco cab with the mic pointed at the horn. The top one (black) is relatively close, maybe about 30cm. The measurement looks quite clean but there's a distinct dip between 600Hz and 2kHz, which will affect the sound - it's two octaves. This is because the mic is well off axis in relation to the bass driver. The red measurement is from about one metre. You can see that the dip caused by the bass driver has more or less filled in. However, at that distance, room effects are going to be noticable. In this measurement, you can see the change between 200 and 600Hz caused by room reflections. So, measuring at 1 metre is more accurate but the sound is likely to be affected by room reflections or other noises (instruments). The logical conclusion would be to position the mic in between both drivers, which should allow the mic to be positioned closer. I'm so used to measuring on the tweeter axis that I didn't consider it at the time, but I can take a measurement in between the drivers is anyone would like to see it. I do agree with @matybigfro, however. The design goal of the Monaco (and other LFSys speakers) is to reproduce the sound from the amp as accurately as possible. It makes a lot more sense to DI.

Fantasy - Mariah Carey

@Woodinblack Agreed. I get confused because I use synths and they can morph the oscillators between series and parallel. In the digital world you see, I lose track of what's possible in the real world? What I'm thinking is that each circuit will have very different resistance measurements, and in a passive world, will I have created mostly a loud and quiet setting? @itu 1. clinck link 2. crtl + F 3. input = spector result - page 307. There be a passive EMG circuit for Spector. Splendid. Thank you. edit: ah, there's a tone pump. Missed that. More research to do. Page 326 may be a starting point. @lemmywinks I'm not yet tempted. There are signs that some were built without preamps yet had EMG pickups. They register similar on the input meter to my active on centre notches. It already has great tone. Compared to the TB-70, it is lively and clear with a fret thump that isn't too bright but has mid range chunk. It make me smile as soon as I played it. It sounds good when it's not plugged in, even slapped, maybe. The instrument has a lot of natural tone dynamic, very lively but calm and deep if careful. I'll experiment without the pots, setting a switch for series and parallel. I will enjoy struggling with the circuit design.

Also fair play to Rich Tone Music, I paid for this yesterday after lunch and it was with me in under 24h.

Been curious about these since they were released a few years ago, as I much prefer the RG style to the Soundgear range, and a fretted 5 was a hole in my collection. When I spotted this I had to take a punt. It's black, it's got a pointy headstock and sharkfin inlays, and it cost less than a Squier. What more do you need. It plays nicely, although we'll see how low the action can go, and sounds fine (although first impression is that the preamp does SFA). Neck's not as flat as I'd expected/hoped for based on the reputation of their guitar necks. The headstock also survived me immediately twatting it into the attic roof as I was unpacking it unscathed🙄 Good for metal innit. Although the skull volume knob might be a step too far.

I used Tiny Tone for the clear one http://www.tinytone.co.uk/ and RF Custom for the two part black one http://www.custom.co.uk

Don't get caught up in the whole technical.gear, equipment, pedals etc stuff. It won't help you "play." Learn the basics of music theory is my advice - this is the basis of all music, no matter what instrument you play. Listen to ALL music - jazz, pop, rock, classical, folk - everything. And if you really want to be a real musician - learn to read music; it's hard work, frustrating, but in the end you'll be miles better than all the guys who can't read, and who just play the same stuff over and over again. You will be in demand! In my experience most bass players, and guitarists can't IMMEDIATELY tell you or know what notes are on the fretboard. "Where's G flat on the A string?....."Er, hang on, well, there's the F and then there's the.... er, hang on, that's it, is that it?" You won't find any other musician who can't play a note on demand on their respective instrument.

Would love to. Just got to overcome a 400 mile hurdle to get there 😀

Women in uniform. Maiden

I have to ask... is it big enough to store basses in?

Absolutely gorgeous. Where did you get the clear scratchplate in Lionel size? The custom plate cutter guy from eBay, or...? 😁

This one took me days - a bit of a roast. I think it would have been easier had I not Moised it! The bass sounds better in the original mix. The is the Reginald Veal bass part to the tune 'Blutain' from the 1996 Branford Marsalis Trio album, 'The Dark Keys' (was it really 30 years ago?). Veal's part is stunningly creative whilst retaining the core aspects of swing, sounding simultanously fresh and ancient. Jeff Watts is incredible also. A great album that is highly recommended. I wish I could have done these transcriptions 30 years ago. https://bilbosbassbites.co.uk/blutain-branford-marsalis/

Just in case, I bought the VI Labs Modern D (another Steinway D but this time not an old German one, but a new ... New York version with all the progress done since so many years by Steinway) software today, and apart from a nightmarish download (I ended up using Edge as Chrome was very slow even with a 1 GB connection and giving faults in the RAR file), it's really the best piano sampling software I have ever heard, even better than the VSL Synchron Steinway D that was already excellent. The sound is even more authentic and you can configure so many things that it will take some time to toy with everything, but I've already made my own preset to sound like when you're playing the real deal just sitting in front of the beast. The bass part is so huge and powerful, the mid part of the keyboard sounds like a piano and not a synth, and even more important the higher part where there is no more damping gives a real piano sound, not a toy piano breaking glass tone. It's also working as a standalone. Best buy, so far and not that expensive, but you'll need WinRar as it's the only one working to extract those RAR files...

Speaking of Thomann: Pigtronix Octavia Fuzz Micro is on sale at the moment, just £42. I’m tempted - the full size pedal gets the nod from @Al Krow here.

@Jamieboy how long would you say these last compared to something like dr hi beams? i usually use flats so don't have a clue how long rounds last. just got some hi beams, which i love the flexibility and sound of but still not sure of the zing and the texture. dragon skins look like they might be the fix!