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Love me two times. The Doors

I got it last year. It is really good but I do find that it really smears the transients of a hit. So I have kinda stopped using it because I found that it makes whole kits sound lifeless when all the close mics have Silencer on, so I end up reaching for a sample or transient designer when I would rather not to beef things back up. THR Debleed does the same function but is better because there is a look ahead function so more of the original transient comes through. Though it is very much a Silencer rip off. https://thraudio.com/products/debleed/ For blatant ‘cheating’ try Acon Digital. Remix for £26. It is an ‘AI’ plugin that identifies snare (or Tom, kick, hi hat etc) hits, and you can essentially just reduce cymbal bleed without ruining the drum transients. https://www.pluginboutique.com/product/3-Studio-Tools/72-Utility/11190-Remix Acon Digital also do their own gate called Debleed for £50 but the remix plugin does the same and is cheaper. I am sorry to say I have spent more time mixing drums in the last year than playing bass.

I find with mics it's not just the source but the speakers/desk you put them through. If the speakers are weak around a high crossover point then they won't play nicely with a mic that has a presence lift in that same region. The first time I put an SM58 through actually good PA years ago was eye-/ear-opening. Now I mostly have Shures because they are safe and between SM57/SM58/Beta 58/SM86 there's enough to cover most preferences. I also think there's a place for the cardioid SM58 in a time when most mics are super/hypercardioid. Problem with the latter is the bass proximity effect is just too much; a lot of singers I can't use eg a Beta 58 on because of this. Interested to try the e935 as a cardioid, but I never liked the scratchiness of the e835. Another issue that works against SM58s apart from fakes is that they don't die per se, but they can degrade, so if you've only used old knackered ones you view them dimly. My own favourite live is the SM86. Not as famous as its dynamic sibling but it's great - lots of the good points of the 58 with the added clarity of a condenser. I greatly prefer this to most dynamics on a good female vocalist and on my own rather weak voice.

Good Morning Good Morning - Beatles

Rise & Shine - The Cardigans

This video turned up on YouTube yesterday. A good 45-minute watch... "Often Imitated, Never Duplicated: The Richard Tee Story".

Got to be honest, most of the information shared is way over my head 😄 I never knew it would be so difficult to fit new pickups 😄 Is there a stereo output jack you can order separately that would fix the issue? If so, please share a link

Get Up, Stand Up - Bob Marley

I bought a Squier VM fretless Jazz off a BCer (sorry, can't remember who!) about 15 years or so back - there was a nice headphone practice amp/FX thingy tucked in the case - which I promptly returned to them 'cos I'm nice like that. Years ago I picked up a bargain MIJ Squier Precision (late 80s A serial) locally, came with a folding stand & an awesome wide leather padded strap. The bass went off within a fortnight for many multiples of what I paid, the strap & stand still are still here & in constant use. Bought an old 335 copy once, inside the hard case was a really odd, almost home-made looking tremolo adaptor device, designed to replace the stop-bar. Obviously the guitar's long gone but I've still got the trem thingy in a drawer somewhere. Didn't know what to do with it then, still don't...

Apparently it's actually a Harley Benton, he just changed the headstock logo.

Build Me Up Buttercup - The Foundations

As a bass player, I do have a weakness for their (bespoke??) PRS guitars though! (possibly because our guitarist plays one)

Yes

PS I think the music is great!

Is this an advert for the headphones they are all wearing? (albeit there a small number of the orchestra with non-compliant ear gear!)

Continuing with his Bruceness. Pump It Up was an example of when Elvis and Bruce were at the top of their game. EC wrote the words while holding Subterranean Homesick Blues in his mind. He played the song to the band in a soundcheck with a very sparse two chord arrangement. Bruce said it need propulsion - this he provided in spades! years later he says he stole the bass lines from The Damned (Neat Neat Neat), The Everly Brothers (The Price Of Love), You've Got To Lose (Richard Hell and the Voidoids), You Really Got Me (The Kinks), and last but not least In The Mood (Glen Miller). Somehow he distilled that lot down into one of the most recognisable, powerful basslines of the era. Before he and Elvis fell out they were such a dynamic, creative force. Neither has, in my opinion, achieved the same heights without the other. So here it is, Pump It Up, my best attempt. I'm still new to this game so any constructive advice is always welcome. Pump It Up.pdf

Thanks @Frank Blank You had better add me to the list too I suppose. Brawley 5 string, Roland V-bass system, Ashdown ABM-300, maybe some interesting bits and pieces. Door code to let you lot all in the hall!