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I guess if it had a companion receiver unit, you could use it as a wireless too? That could be cool. Combine it with a wireless footswitch and you'd have a fully wireless rig.

Nah, I bet he overplayed a mush of too many notes on it 😜

He didn't, but he got the proof of concept right, and pretty much nailed it the 2nd time.

There are many branches of Physics, and some can be detrimental where understanding acoustics is concerned. The main obstacle for most, irrespective of their level of education, is realizing that sound waves and light or radio frequency waves are totally different in how they function. Light waves in particular are easy to comprehend, because you can see them. There is almost nothing intuitive about how sound waves work, and even at the post-graduate level there are few courses of study available. One very good source is here: https://blog.soton.ac.uk/soundwaves/

Sure!! Here are a couple. Sadly, no.... they do not glow in the dark. 😆

The quick recording aspect is about being able to pick up the bass in the control and play along with a band that's in the live room. Something that stays in position relative to the bass, doesn't require placing a mic stand in the middle of a busy control room, and is positioned close enough to the bass that it can handle spill from the studio monitors without too much trouble. In other words, something that requires minimal extra effort on top of my work as a recording engineer, but still gives decent results. Thanks for the comments all - the DPA fits the bill for now, since we already have them.

Just giving this a wee bump. Wouldn’t mind another crack at the Capo as I think it might be a good fit for my P with rounds as long as I’m not trying to make it sound vintage/tubey.

@Sté Thanks for this. So are IEM's the same as 'ordinary' in ear headphones? Rob

This all day long. There's an Andertons video where they compare some semi-hollows including the Warwick Star and Epiphone Jack Cassady, some others too I think... That should give you a good idea of the possible sounds. I had an Epiphone JC and found it really versatile, great bass.

Ampeg V4 B.

I bought the t.bone EP 4 (from thomann) cause i was needed some in-ear to sub a gig with an all equipped band. And i can say that for the price i've paid, those ones are very good, comfortable to use. Bass sound is really present and nice. I now use it at home with my mighty plug mp-2 and it works perfectly.

I didn't mean it in a contrary way. Tone of voice often doesn't come across well over the internet. I'm interested in what you think they're missing on this.

ok, have it your way. 🙄.

Great post 👍

Streaming definitely benefits my band. It allows us to reach listeners all over the world. About 90% of our listeners are from outside of the UK. For better or worse it's where the majority of most artist's potential audience are. These days it costs next to nothing to be on streaming services, so why wouldn't you be there? Does it give a fair payout? How do you even begin to quantify that? Let's look at the "good old days" of record companies, albums and CDs... A new signed band might get 10% of the retail price of the record or CD, But that only came after they had paid off their advance, recording costs (often to a studio owned by the label), promotional costs like buying onto a major artist tour, making videos, paying photographers, record pluggers and all the publicity that a band with a record contract in the 20th century would have taken for granted. They would also have to sign with the record labels publishing company who would take one third of all their performance royalties. Most bands would never see any money other than what the label initially advanced them. And that was only for the very lucky few who actually got signed. If you were going to put out your own record, in the late 70s if you cut every corner possible like The Desperate Bicycles you could record and press 500 copies of your single for just under £200. Back then it took at least 3 months to get your records after you had sent them off to be pressed. If you were lucky and John Peel liked it enough to play it more than once and Rough Trade gave you a distribution deal and you sold all the copies, you could probably afford to make a second single and not have to cut every corner this time. Or if you were unlucky like my friend's band it could take the best part of a year from making the initial recording to getting your 500 copies of the single and then your distributor would go bust taking all of your stock with them never to be seen again. On the other hand streaming probably won't make any of the artists being streamed rich on its own, but if you do it right you should at the very least make back your aggregator's fees. Your music will be available for as long as the streaming service is running. Yes Bandcamp give you 90% of your download and physical product sales, but their reach is tiny compared with Spotify or Apple Music or Amazon. IME the people who do badly out of streaming do so because either they have signed a deal that gives someone else (usually their record label) the majority of their streaming income, or because they don't do enough promotion. The conservative estimate is that 20,000 new songs are uploaded EVERY DAY. So when you release your next single not only do you have to compete with the other 19,999+ songs released that day but you also have to compete with almost every other song ever released in the history of popular music. The charts (for what they are worth these days) have to apply negative weighting to back catalogue otherwise new artist would barely get a look in. So if you can't/won't promote your music how can you ever expect to reach an audience of more than your close friends and family? For me the short answer is that while I'm almost never going to make a living out of my music, at the moment my band breaks even overall in terms of what it cost us to be a band and what we make from playing gigs and having our music available to listen to or buy in various formats. And while it isn't a massive proportion of the band's overall income it makes an important contribution.

Looking great.

I started on a 77 P Bass, never regretted selling it apart from the price i got £325 in 1993. Then five years ago I thought i needed one again so bought the best i could find a CS 62 relic. Five years on I decided i didn't again, for the same reasons i parted with the first - There are better made basses out there with wider tone flexibility. So I traded it for a Sadowsky NYC with chambered body, quarter sawn flamed maple neck. Best sounding bass i have owned.