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Just going back to my mate, he used to (no pun) wax lyrical about different elements he could add to his system to make it sound (subjectively) better. I can recall speaker isolation systems (spikes, then this ball bearing/cup system). Crocodile clips (on speaker cable) attached to curtains, speaker cones made 'from the same stuff that they coat the tiles on the space shuttle'. Power supplies. Power amps. Different cartridges for different music ('Yeah, this one us better for reggae.'). He would say regularly that achieving 85% of musical audio fidelity was cheap and simple, the big money is in the final 15%, which I suppose is where his business model lies.

yeah dying fetus for me have that perfect blend of death metal and catchy grove hardcore riffs. was even better their intro song was YMCA lol

Slaughter To Prevail confuse me just because everyone refers to them as STP and for anyone of my age, STP will always be Stone Temple Pilots. I have seen Dying Fetus in Bristol years ago and they were excellent. The mosh pit was pretty much the entire room!

Really whatever you want, but you absolutely should not be using a kick drum mic as the frequency response is wrong and you'll be competing with the kick drum sound. The reality is that unless you are playing huge stages with your own sound engineer, any mic on your bass rig will be mostly for show and the main proportion of your FoH sound will come from the DI. Remember also that a single close mic on one driver in your rig is not picking up the same sound you hear from the whole rig when stood a few feet away from it. Save the mics for the recording studio and if you like the sound you are getting FoH from your DI signal path stick with that.

slaughter to prevail at brixton. they was ok but i really went to see Dying fetus who albeit having terrible sound, were very good

news of the world - the wildhearts

Read About It - Midnight Oil

Sorry, long gone now

What do BC'ers use if/when mic'ing a bass cab live? I'm not after anything overly expensive. It's for occasional use (alongside the wonderful valve DI in the TT800). I've watched a good few videos and am drawn to the Behringer C112 - alongside the DI signal. Any other ideas/thoughts?

News of the World - The Jam

It's funny how people who differ over whether 10" speakers sound better than 15's and upgrade pickups on perfectly good basses also differ over vinyl and CD's If like me you have a collection of vinyl at home and just want to play it on something that won't degrade it any faster than you have to then any of the modern £500ish turntables will do the trick. I'd probably avoid vintage decks just because these are mechanical devices with bearings that wear. I want something I can use for the next 20 years without having to source parts. Once you get into hearing the difference it depends upon the cartridge you are using and the amp and speakers. There's no point sonically spending £1500 on a turntable if the speakers aren't equally revealing. The argument for the used Linn is surely that you like the way it looks and you can get your money back if you sell it whilst the poeple who lusted for them 40 years ago are still alive and feeling stirrings (note to self: sell that old Sex Pistols single) FWIW I have a Rega Planar 2 with the better tone arm fitted, can't remember which one. I've had it for years and have only had to replace the belt and needle. You don't have to replace the whole cartridge but spare needles aren't always available for such old gear. I've gone from Thorens TD160 (rumbled like hell) to a Pioneer 12D to the Rega. I used the Technics 1200 in my disco days. A mate has the Linn with the top arm at the time and the external power supply. It did sound better than mine in the shop but not through his amp and speakers. We spent many happy hours comparing systems to find that some records sounded great on his system and others better on mine. Nowadays we do almost all of our listening via streaming but it is nice sometimes to get the vinyl out and wallow in nostalgia, definitely worth spending £500 on that. Go for a decent cartridge though, it makes more difference than the turntable and will conserve your vinyl. Then just love what you have, if you've ever played bass with a drummer I doubt your hearing is still 100% anyway.

Death Star - Sufjan Stevens

Absolutely - they're just little individualities which make it a little different and more distinct. At the end of the day, what counts is how it plays and sounds, and it plays and sounds epic.

I didn't know that they did a fretted version! .. that must be a recent thing? What gig bags/cases do people use for these? I had a rok sak bag that it just about squeezed into, but it's a pretty long bass... (I think it comes in 2 sizes? Full scale and medium...) Recently found that the Ritter Carouge Acoustic Bass Guitar Bag (RGC3-AB) is a pretty good fit!

I'm curious about that as well. Someone on a Dutch bass forum that I frequently visit has just imported one of the Indonesian SB700's from Japan in a sale and I'm looking forward to his review. He hasn't said a lot about it yet, other than it's a good and very solid bass, plays great, but the ergonomics and the way it balances require some getting used to (coming from mostly FSO's). Looks very authentic, appears to have the same barely-tapered string spacing as the original (he measured 17 mm at the bridge and it's not exactly narrow at the nut).

Got a few of her albums and she's fantastic, a great voice and a fantastic songwriter John 😎

IME for the vast majority of musicians and composers, having a full time job is completely incompatible with making music for anything other than a bit of fun. You need to be able to be flexible with your time, often with no prior notice, in order to make the most of any opportunities that come you way, and also not be so exhausted at the end of the working day that you can then spend the rest of your waking hours working on writing, rehearsing, recording or playing gigs. From personal experience I have had the most success in my musical activities when I was able to be flexible with how I spent my time, first in the 80s when I was a student and then unemployed, and more recently since I went self-employed 15 years ago where I can set my own work/music split. I tried to do the same in the 90s when I had a "proper" job and it completely and utterly wore me down to the point that when the band split I did no new music for the next 3 years. I'm sure there are exceptions, but I guarantee you that they are rare or that they had some kind of financial safety net to fall back on or an organisation with musical contacts behind them. IME every new artist who appears out of nowhere has either already spent years being ignored or has an organisation behind them with strong music business roots.

There is always THIS bass/cello hybrid?

I don’t actually think we are disagreeing- but if in your era hard work, drive and sacrifice would lead to success and being able to do something as a career in a creative field. In my post 2008 crash era and more so now hard work, drive and sacrifice would look like working the crap job to give you flexibility to pour time into your creative field, hustle to try and monitise what you do, and chasing the algorithm to market yourself.

Perhaps you were posting in stereo without realising it. 😂 Dave

I'll leave this here Suno, AI Music, and the Bad Future sorry I don't seem to be able to embed YT from Edge browser, but I am not IT literate - so much stuff now seems to be dependent on doing stuff on the phone, which I don't do