Leaderboard

I've got to that stage in Christmas preparations when I am 'JUST IN THE WAY!!' as often as I am useful as far as MrsAndyjr1515 is concerned And so there are snatches of time when I can still make a bit of progress. The bass body and pickguards are getting close to being done. I've started the final finish coats on the body and also added the ebony veneer to the black scratchplate. For the final finish, I am using Osmo Polyx 3032 Satin simply wiped on with a micro-fibre cloth. For sticking on the veneer, I used good old-fashioned Evo-stick (remembering to do it with good ventilation - you forget just how strong the fumes are!) after roughing up the plastic first with some 320 grit sandpaper. This is it after one coat of Osmo on the body and one coat of Tru-oil on the veneer. It will need no more than one more coat for each: The fretboard will yellow and darken a bit when the finish is put on but I think this is going to look pretty smart as an alternative to the bling of the pearl I can see @scrumpymike swapping them round for every gig

I approach difficult sections of songs by trying alternate positions on the fretboard until I find the most comfortable way to play it Then, and this is the most important part, always working to a metronome, play that section dead slowly, over and over. Record yourself - even better video yourself so you can really see what you are doing. I play a little game with myself where I have to play the section flawlessly three times in a row before I'm 'allowed' to increase the tempo. Oh and only 20 - 25 minutes at a time then stop for at least 5 minutes, do something totally un bass related before returning. This allows your brain to properly absorb the practice. If you're starting to get worse after a period of time on the same part - stop! Go have a cuppa, look out of the window, meditate, chill. Come back to it refreshed.

I'm finally back in the Alembic fold after a fairly long absence. I have wanted a Spyder for some considerable time and had all but given up on the the chances of getting one after an initial quote ran into five figure territory - and it didn't start with a '1' either! It's a limited run of 50, but they have been available for over a decade and Alembic still haven't made all of them yet. Also, they have not been made sequentially either. The last time I checked the following were still available, although I think one of them has been commissioned since: 22 of 50 27 of 50 28 of 50 29 of 50 35 of 50 48 of 50 It's bit of a beast and I accept it's not for everyone, especially those that have bad backs, but I have to say it doesn't feel that heavy. I think part of that is that it's well balanced. It's 10 years old this year and has been a Case Queen for all of its life. It's set up ridiculously low and really is everything I hoped it would be. That said, I haven't put it through my gig rig yet, so I have that to look forward to in 2020. The case is an absolute monster (see photo for comparison with a standard size case) and the bass in its case weighs just under 42lbs.

So I tend to have some "I'll never buy" kind of thoughts now and again. I'll never buy a Rickenbacker, I'll never buy a bass with flatwound strings, I'll never buy a Stingray... Some of them have gone pretty quickly. I have owned a flatwound strung bass for a while now (my '71 P with LaBella flats, and I looooove it). A few days ago, another one of those promises went: I thought I'd never get a short scale bass again (I used to own a short scale Gretsch semi hollow), especially not a Mustang because it's too much like a swampy Precision bass. And then I had an afternoon with a few bassist friends, one of which has a '67 Mustang, and one has a JMJ Mustang. And then I knew it. I had to get a Mustang. A JMJ Mustang. So I got on Thomann's web site and there was a B-stock JMJ there for a great price, and after having made a call to Thomann I knew it: this was my bass. So I ordered it. And boy, is it amazing. The neck is gréat, the pickup sounds amazing, it feels fantastic and the stock Fender flatwound strings are just what this bass needs. What a great instrument and what a cool addition to the basses I already own. So now I have four Fender basses (and five non-Fender basses).

Just looked in the mirror, huh? I found it easier just to give in. I started the year enthusiastically enough by joining in the 'gear abstinence challenge' but, having failed on a technicality (an equal value trade) I dived headfirst into my GAS and ended up buying 6 basses, 3 amps, a new cab etc etc.... Never say never.

Lying in bed reading this, a glance to my right...

It's absolutely beautiful and I'll do a proper review when it arrives.

I do dep gigs , these days more than I would like, but I always ask for a set list. Give me a set list and a couple of days and I'll be as good as the guy I'm replacing. Don't give me either of those and I'll still do the gig, but you'll get what you get, without any apologies. I once had a band leader tell me that if I needed a set list I wasn't as professional as he'd been led to believe!!! I thought that was rude, so I politely declined to play in any band with him. A coupe of weeks ago, on a dep gig, the band leader announced a song. I told him I didn't know it, but he started to play it anyway. I tried to busk it but had to stop in the middle 8. I was just not able to follow it at all. Later I asked the guitarist, who was in the band, what happened and he said he had no idea. He was following me!!!

Merry Xmas Mr. Hall!

I saw my surgeon this morning and I'm having another metal bar inserted in my right wrist. I'll have to wait for around 5 months for the op and then 6 weeks recovery time. If it works as well as the last one, I should be back playing by the summer. Heres hoping.

Hey guys picked up a '67 bassmaster mark II and man am I impressed with this thing! It was just re cap'd, re tubed and the output transformer was re built. Everything is original (except for the capacitors). For a 90 watt amp this thing is loud as hell and when you patch the 2 channels together you can get some pretty awesome overdriven tube distortion. Anyways here's some pics of the bad boy.

I’m thoroughly enjoying Ken Burns’ Country Music documentary series on BBC4 / Netflix at the moment. Anyone else watching / enjoying it?

Not the best pics, but here's my current Trace rig - AH600SMX with matching 2 x10 and 1x15 cabs, drivers in the cabs have been replaced with modern Eminence units so they're 400w RMS (/ 8 ohms) each. For gigging it normally gets usurped by my "compact" rig (Ashdown MK500 head with 4x8 and 1x15 mini-cabs) but for the bigger venues it's just sublime, and the UV facia lighting is soooooo cool.... My 3rd Trace rig in the past 30 years or so - 1st was an '80's GP7 4x10 combo, then a Twinvalve head thru Mesa 1516 cab.

Yep........i started 2019 being really strict with myself and limiting where I looked so that I wouldn't fall victim to GAS. Just like Paul, Stewie and many others.......I failed miserably. Ended up with 8 additional basses, one combo, a HX Stomp and I'm happier than ever. I reasoned that you only live once!!

Repeat booking yesterday - 3rd year in a row and bonus was a very talented mate agreed to do some solos for the Christmas songs - on his flute. Sounds strange but worked a great in rehearsal. So cue the first big solo and out guitarist/ vocalist announces him, we all turn to look at him and he isn’t there! He is in the crowd chatting to someone. He is always a bit random so we are used to it but we took the mick mercilessly. 100+ up dancing the whole time so all was good, asked back for next year.

Of course yes! The only debate was how much other stuff I might buy to take advantage of the free postage 🤦🏼‍♂️🤦🏼‍♂️🤦🏼‍♂️

Perfect solution. Thank you for your consideration.

That's unfair, some rickenbackers sound ok!

Lissie: I was at this gig and it was unbelievable. This never fails to bring tears to my eyes, soppy sod that I am.

Thanks, I'll get on with ordering the new bass and case then and be an utter PITA round the house until they arrive. Ibanez SR400-DEB and Fame Hard case to keep it in. Then off to a local luthier to de-fret. Nearest decent bass place for me is miles away in Glasgow or Edinburgh, doesn't stop me dropping into the local music shop for a play.

Whenever I’m passing I always pop in and play something 😄

I use all varieties of s'locks...have just fitted the new S ( to ACG Finn), all good great design easy on/off...thx guy's for raising awareness

To be fair, it was your lot (the Beeb) who each year would carry a week of Country music from Wembley (or somewhere), the high point of which would be when they sack-barrowed Slim Whitman on stage to shrieks of joy from denim-clad, tattooed geriatrics with long, greasy hair and droopy moustaches and that was just the women. I know the BBC probably meant well but in presenting a very narrow range of artists which appealed to a set-in-their-ways audience they set back The Cause by decades. As we used to say, what's got 67 legs, 85 eyes and an oxygen tank? The front row at a Willie Nelson concert.

I really like this - excellent stuff Andy!

If you p*ssed in it that would be too good for him (or her???). Have a great Xmas and good luck with the op!!

+1!! Seems that you can buy the one-piece pins separately as you could with the old design. This means that, if you are swapping one strap between instruments - you only have to buy one complete set plus extra pins. I use and like the original Schallers but this is definitely an improvement in several respects.

Was with my sister just coming into London and she puts this classic soul funk on from Maze . What a soul funk record it is. Robin Duhe's bass playing is just fantastic from start to finish.

Work is winding down a bit now so I had some time to get on with the Barncasters Heres ‘Ole Smokey’ And here’s ‘The Bulleit’ I can’t decide if it looks better with or without a pick guard And finally the Barncaster bass I’m having the same dilemma about the pickguard I'm leaning more towards no pickguard on the Barncaster bass..............😀

The 80’s and 90’s Japanese clan

I'll be there! I'll bring along my latest faker too... (For the record, it's the one on the right which is a real Rickenbacker and a couple of folks had a go on it at the last SE Bass Bash!)

Mike has spoken. You can have a bash on mine at the next bash mate.

I suppose it was the same from begining. All compiq's have 4320 analog engine and been designed around that, as they say. Even the Mini and Mini 1. Pictures of the boards are shown in their instagram feed without reserve. They actually say in product description that they use the top-class chip, although they don't name it exactly. One should open their pedal to actually convince himself. If anyone having a Mini can do that, would be nice to have another solid proof, but I don't see this not being true. There is a difference in the chips, especially in the dynamic range and total harmonic distortion, 4320 having better specs than 4305. One thing should be mentioned though. 4305 is the dual supply powered replacement of 4301 chip which is now obsolete. 4320 is single supply powered and that explains the battery option. Also 4320 has 28 pins and that can be seen in all their board pictures old and new. 4305 and the rest of that chips have 16 pins. Is good to see they use the best in class chips. Your review captures everything about this pedal, and I can concur in your findings. This is one of the best featured pedal on the market today. Even the Mini's are better spec and featured than anything else in the same format.

^^ This.. Thanks for sharing your story @Bassman Sam and best of luck with the op next year! Maybe I'm feeling a bit reflective this morning after a really good gig last night, but reading about what you've been through - and are still going through with this situation - has made realise just how lucky I've been in terms of health and playing music.. As Joni said, 'you don't know what you've got till it's gone.' Merry Xmas btw Folks and here's to some positive outcomes for all of us next year ! 🎄😊

Got me a B-stock (but brand new) JMJ Mustang for a great price at Thomann. What a cool little bass.

I'm surprised that no one has found a cure for that yet - a most unpleasant condition, far worse than tennis elbow.

Aye. The original version were semi hollow.

Vigier all the way: truly wonderful, unique, state of the art instruments. I currently own a Passion III and previously owned an Arpege II (100% graphite neck)... just stunning, nothing like them. The best basses I've owned. Warwicks are great but the market is saturated with all sorts; I've heard that Vigier make 10-12 basses of each model annually... hence, they are like rocking horse poo.

Well he’s not getting my support! I’m still wearing it.

Something like this :

I agree. It's excellent value in my opinion Al Krow. I'll probably get corrected here, (or more likely, shot down ), but sometimes I find it difficult to see the value in some class D amps. There are a few on the market now that are £1000 or so, MORE than this Peavey. I understand that the Bergantino ones have lots of clever features, and some have higher quality components and design, but there are others in that price range that are simply a custom preamp and a bought-in power amp that lots of other makers use. It's all well and good, but for my pub/hotel/club and the odd festival gig, when the drummer's hammering it out, the guitarist is belting it out, maybe keys wailing, sometimes brass, and then the singer and two BVs, the subtleties of that £800 to £1200 amp is beyond lost, on me anyway. Marketing is a well honed and powerful tool, but I honestly don't think an amp costing ten times the price of another offers ten times the performance and utility in the real, gigging world that I live in. But that's just me. And I'm sure most people will disagree. I'd be surprised if they don't, because I'm a grumpy aul fecker... Frank.

Well, I got a text from the frontman trying to establish if I was going to do the gig or not (give me strength..)? If he was in any doubt before he isn’t now. I also let rip with the most dignity I could muster about how I saw the situation, how poorly they handled it, how as a long-standing and 100% commited band member I deserved better etc etc etc. I then got a reply saying he was sorry how things had panned out, that I was a great guy blah blah blah. Later that night they put a status on their Facebook profile, a few pictures of me and a few ‘nice’ words. I’d like to think that it’s sincere but I’m still livid and see only a load of bullsh*t. In the same status they announced their intention to continue as a two piece, which I find ludicrous, but never mind. Within an hour of their status going live I got a message from the BL of another established local band asking if I was interested in being a part of a new band he’s putting together? One door shuts and another opens. I’m not entirely sure I want to do it yet, (I’m not even sure I even want to keep playing bass at this moment in time) but he said to think about it over Christmas and New Year, so let’s see. In the meantime I’m going to concentrate on my solo stuff, which I’ve neglected for the last four or so years.

It isn't synthy that's for sure. Although it does have a modulation control which can produce some unusual sounds, I think it's a very clean octave. I put some sound samples up on another thread. https://www.basschat.co.uk/topic/302205-if-you-could-only-choose-one-octave-pedal/?do=findComment&comment=3928264

Love Maze. One of my all time fave summer tracks;

must've been fired then asked to fill in for another gig.

Oh my goodness. OH MY GOODNESS. When can I come round and play?

3. THE SOURCE! Arguably, it all starts here – but having said that, if any of the components in the chain, the source, the transport and ultimately the IEM is weak, the overall result will be compromised. As stated previously, when using IEMs, you should assume that you can hear nothing unless it is miced up/DIed etc into a desk. The desk – let’s talk about the desk. 3.1 USING AUXES TO GENERATE YOUR MONITOR MIX As covered off above, you’ll need an aux bus for each mono feed, so consequently, you’ll need 2 aux busses for each player (or independent mix) for a stereo feed. This is a really important consideration when it comes to your choice of desk. The type of aux is also of great importance. You’ll see that there are two types of aux sends; these are pre-fader and post-fader. For IEM use – and wedge use for that matter - we want pre-fader. What this means is that whatever is done to the front of house mix in terms of moving faders, that adjustment does not have any implication on the aux mix which is driving your IEMs. Cost wise, analogue desks tend to have fewer auxes than digital desks. For example, large 32 channel analogue desks tend to have 6 aux busses for use, whereas it is typical for 32 channel digital systems to have 14 aux busses. As you can see, this is a considerable difference –especially if you are considering running your monitor mixes in stereo. (3 stereo mixes versus 7!). Looking at your existing desk, you may find you may have to run in mono, or may have to share auxes (which is far from ideal) so ensure if you are purchasing a desk for use with inears, make sure that it has enough auxes for your needs and future needs (if you envisage that your band may grow!). Note - if you MUST have an analogue desk and looking for something portable with relatively high aux counts, you could do worse than a WZ4 16:2 (you'll need to set the internal jumper for auxes 5-6 to be pre send), as that has 6 auxes available to you (will also cost you about a grand! (seriously though - start looking at a A&H QU or QSC Touchmix 16 if it's just about wanting some sort of sliders without having to rely on an iPad...) I’d always recommend digital desks for IEM use – purely because they tend to come with more auxes and you can make use of the inbuilt DSP to process your audio. Typically, analogue systems require a truck load of outboard processors to achieve what even the entry level digital desks can now achieve. Digital desks needn’t be too expensive; units like the Behringer XR18, Midas MR18, QSC Touchmix, Mackie DL1608, Allen and Heath QU and RCF M18/M20x mixers all offer at least 6 auxes with many of the bigger models, including things like the Behringer X32, Mackie DL32R offering even more. A great advantage of digital desks is that many are able to be controlled remotely via smartphones or tablets. Being able to make personal adjustments to the mix remotely via your portable device is very convenient. 3.2 PROCESSING ON A DIGITAL DESK FOR AN AUX BUS OUTPUT Most digital desks will enable at least an EQ over the summed mix and potentially some compression. This enables you to shape the frequency output in your ears to your desire. For example, if you are running a large front of house setup with big subs, you may find that the bass is quite light in your ears. You can adjust the EQ to address what you want to hear in your ears. Compression is a useful addition to your ears mix but go careful if you are a singer. Over compression of a vocal can lead to singers backing off the mic and not singing naturally. Additionally, by configuring the compressor on an aux bus with a 20:1 (or as high as your mixer will go) with a fast attack rate, you are implementing a brick wall limiter. Simply set the threshold for where the normal program music peaks. This means that potentially hearing damaging peaks that exceed this level will be stopped down to the threshold peak and hence will protect your ears from being on the receiving end of anything louder. It's worth mentioning, that EQ per channel, is reserved for front of house and the EQ on your aux busses will be flat (as they appear at the preamp), although on some mixers you'll have the ability to pass post DSP processing through to the aux busses. This means that you can share the same processing for each channel with the auxes. This may or may not be what you want - for example, the last thing you want, is gated drums in your ears - whilst that sounds great out front, it sounds very unnatural in your ears and the drummer will hate you for it. There are some tricks however, that can be done with digital desks (such as splitting the a preamp between two channels and applying separate processing to each channel for front of house use and monitoring use) - but more about that later. 3.3 ULTRANET AND THINGS LIKE THAT… On Behringer and Midas units, you may have seen something like Ultranet being mentioned. What this is, is a way of putting audio onto a network so it can be subscribed to by other devices. There are numerous implementations of this, for example Dante, MADI and AES50 for example. For the world of IEMs, many of the larger desk manufacturers have dedicated hardware solutions for sub mixing IEM feeds - or give you the ability to push the audio streams to a third party IEM mixing solution (such as Aviom). Instead of using Auxes, you can subscribe to audio streams on a network as detailed above. So in the case of Behringer, you can use something like a P16M. This is essentially a little hardware mixer that gives you up to 16 channels of audio with which to dial in an IEM mix. Of course, the big advantage of a system like this, is that you are far less likely to run out of auxes as you can keep hooking devices up to the network to subscribe to the audio streams that are being provided by the mixer. Another example is Allen & Heath's ME1 - which offers simiilar functionality but for up to 40 channels. Of course, using a system for providing IEM mixes to a large group of players (e.g. an orchestra) is preferable than trying to get that many aux busses! Of course, you may not want to be tied into a particular manufacturers ecosystem, so maybe gain flexibility by looking at systems that run on a audio over IP standard such as Dante/MADI. Hear Technologies Hear Back Pro is a nice example. It's worth talking about devices like the Allen and Heath ME-U and the Behringer P16i - a device that takes in analogue feeds and puts those channels onto a network. So for example, this means you can make use of the ME-1 or a P16M with a non Allen and Heath or Behringer/Midas mixer - but remember, the number of channels that you can make use of within the P16M is limited to the the number that you can supply. For example, it's no good expecting 16 channels to mix in your IEM feed, if your FoH desk only has 4 auxes feeding into the P16M. (For completeness, Allen and Heath support is either 16 or 40 channels depending what units you buy) Of course, it's all about running the right system for the job in hand. Physical hardware is great for in the studio, in the pit etc - but obviously, can bring additional problems (primarily from a visual perspective) for deployment on say, rock and roll orientated stages, where a more discrete mixing solution is probably preferable. 3.4 ALTERNATIVES TO A MIXER? PLAY WITH LOTS OF DIFFERENT BANDS? Not everybody plays in just one band - and of course, not every band subscribes to the idea of everybody wearing inears. Of course, some bands just may not have the hardware to support putting people on to inear monitors. Quite a common solution is to get a field recorder, something like a Zoom for example, and use the onboard condenser mics to pick up what is going on in the performance area. When a set of IEMs are plugged into it, the sound from the mics can be relayed to the IEMs. Naturally, the volume can be set to taste. Some of the more comprehensive field records, such as the Zoom H6 or H8 for example, have the ability to mix in other signals - which enables you to get a direct feed from your bass amp, which you can then blend into the overall mix. Naturally, such a unit can be utilised in conjunction with a standard monitor feed to provide some ambience to your monitor mix (which you could also compliment with localised feeds from your bass amp/vocal mic - you may have to get some XLR splits to do this though. See 5.1 for more information on that - although you probably won't need an 8 way split for this type of deployment. I've included a link below which demonstrates such things - https://youtu.be/NbYrlowt0AA - Zoom H6 IEM mixer demo Of course, a similar sort of thing can be achieved via using a mini mixing desk and some external microphones - however, the field recorder alternatives tend to be a little easier to deploy. 3.5 SUPERCHARGING YOUR IEM MIX - (Advanced, expensive stuff!) In reality, the sound that comes from your IEM mix is more akin to that of a studio recording than the natural sound that you would hear on stage. Even though with a stereo mix you can pan instruments between the left and right channels, instruments on stage can be present both in front and behind you - and standard stereo processing does not allow for this. For the uber obsessive, there is a product that enables you to take your instruments from the aux feeds on your desk and using binaural processing, enables you to place those instruments in not only a left and right plane, but also in a front and rear and lower and upper planes. Binaural processing tricks your brain to hearing a 3d space with just a left and right feed into your ears through advanced EQing, delays etc. As an example, you could place the drummer's kit in your binaural 3d space such that they sound behind you and off to the left in the mix - and your brain would process the binaural feed to convince your ears that you can hear that kit occupying that sonic space. But wait a second! Is that drummer on a drum riser? No problem, just raise them up the vertical plane in your 3d mix space. Maybe you could then put the singer straight in front of you and maybe your keys player off to the right somewhere, maybe set slightly forward, to build up a realistic sounding virtual 3d mix. The product that enables you to do this is called KLANG:fabrik (supports up to 16 musicians per unit) or KLANG:vier (supports up to 5 musicians per unit) - these units can be cascaded (typically via Dante) to increase the number of musicians to which you can provide a mix. Via an app, each performer sets their preferred stage layout and places each instrument in that virtual space. Based on those placements, the KLANG units then takes the raw aux feeds (from the desk) and provide the necessary processing to make the mix supplied to the musician map to how those instruments would sound in a true 3d space, in accordance with that performer's layout of instruments set in the app. Note - the KLANG units only provide the processed L and R to send to your musician - you will still need to get that mix to your musician, either over a wired or wireless connection, as documented previously. The innovation of this tech is ever progressing - for example, there's the ability to track body placement on the stage, and change the binaural mix to represent the performers placement in relation to others as they physically move around the stage. If you think you may have come across this before - well, it's similar to the tech used in audio processing when using a motion tracking VR headset (e.g. for gaming). If you don't understand any of the above, check out this useful Youtube link that runs through it all quite nicely - https://www.youtube.com/watch?v=h4EM3Wnn0Po - Note: to correctly make use of binaural audio, you should use IEMs (e.g. in ears) and not over ear headphones (as you need to remove the influence of the outer ear) Of course, there are cheaper - albeit less elegant - solutions to achieve similar results to the KLANG implementation. If you read section 5.2 under https://www.basschat.co.uk/topic/389429-the-iem-bible-thread/?do=findComment&comment=3944330 I talk about offloading processing to Multirack and LiveProfessor. If you have this functionality available to you, then there are a number of binaural plugins out there that will help you setup a similar 3d environment for your IEM mixes. (By this point, you are getting pretty serious down the Dog and Duck!). Typical plugins to check out are Sennheisers AMBEO Orbit or Facebook's Spacial Workstation. Be careful though - setting up IEM feeds in this manner requires a low resulting latency! USEFUL LINKS : https://www.behringer.com/Categories/Behringer/Mixers/Digital/XR18/p/P0BI8#googtrans(en|en) - Behringer XR18 digital mixer https://www.midasconsoles.com/Categories/Midas/Mixers/Digital/MR18/p/P0C8H - Midas MR18 digital mixer https://www.behringer.com/Categories/Behringer/Mixers/Digital/X32/p/P0ASF#googtrans(en|en) - Behringer X32 digital mixer https://www.behringer.com/Categories/Behringer/Mixers/Digital/X32-RACK/p/P0AWN#googtrans(en|en) - Behringer X32 Rack mixer https://mackie.com/products/dl1608-wireless-digital-mixer - Mackie DL1608 digital mixer https://mackie.com/products/dl32s-dl16s-wireless-digital-mixers - Mackie DL32S and DL16S digital mixers https://mackie.com/products/dl32r-wireless-digital-mixer - Mackie DL32R digital mixer https://www.qsc.com/live-sound/products/touchmix-mixers/touchmix-16/ - QSC Touchmix 16 digital mixer https://www.qsc.com/live-sound/products/touchmix-mixers/touchmix-30-pro/ - QSC Touchmix 30 digital mixer https://www.allen-heath.com/key-series/qu-series/ - Allen & Heath QU series digital mixers https://www.allen-heath.com/key-series/sq/ - Allen & Heath SQ series digital mixers https://www.rcf.it/products/mixing-consoles/m-series - RCF M series digital mixers http://www.heartechnologies.com/products/Hear_Back_PRO.html - Hear Technologies Hear Back PRO IEM mixer https://www.klang.com/en/home - Klang binaural IEM processing https://en-uk.sennheiser.com/ambeo-orbit - Sennheiser's Ambeo Orbit binaural plugin https://facebook360.fb.com/spatial-workstation/ - Facebook's Spacial Workstation binaural plugin

Great thread to stumble across. I’ve added some green LEDs at gigs 🙂