Ziphoblat

The AKG K series is worth a look. Generally fairly unbiased frequency response (definitely not over-hyped bass), and very reliable in my experience. They do models across most price brackets. I've had a pair of AKG K77s for years that are still going strong. Have recommended them to several people who have bought them and been happy, including recently a pair of K44s which I believe or only in the £20-30 bracket, I was quite impressed for the money. I now own the K550s and absolutely love them. The only downside is that they're not massively portable or appropriate as a fashion accessory if that's your thing (though IMO they look good in their own right).

You'll never get an acceptable/musical latency here. Even local latency can be frustrating when streaming audio (especially via USB if that's the plan), combine this with the latency from streaming it over the internet, and it's just not going to happen. I don't think that the technology is there yet (on a domestic level).

[quote name='TimR' timestamp='1488226966' post='3247044'] I went to a dinner and dance on Saturday night. They had a disco. Standard stuff. Play the tunes, not chat between tracks, no introductions to tunes. At the end of the evening the DJ thanked us "for being a great audience." The mind boggles. [/quote] Not really seeing what laptop DJ's have to do with a thread about electronic music.

If slap is frowned upon you might want to consider telling people to grow up.

The bass towards the end of This Charming Man. [url="https://www.youtube.com/watch?v=ui7b-RZO0cE"]https://www.youtube....h?v=ui7b-RZO0cE[/url] 2:18 in particular - owch! Also got asked to cover She Moves In Her Own Way by The Kooks in a band a while ago. [url="https://www.youtube.com/watch?v=rfajVDpGXM8"]https://www.youtube....h?v=rfajVDpGXM8[/url] The 2nd (in particular) and 3rd chords in the pre-chorus sound like the bass and guitar are doing different things to me. The bass is also out of time coming back out of the chorus.

Once. It was a school bass I'd picked up to mess about on. Not very well looked after. The strings were rusted due to people sweating on them etc. Low E string. It was a bit painful, actually. Wasn't even playing particularly aggressively. Never broken an undamaged string.

[quote name='Kex' timestamp='1463212601' post='3049512']Same with equipment, number if times I have seen people with small lightweight cabs kidding themselves that that 8mm chipboard ply is going to produce the same sound as 15mm marine plywood is amazing. Go and try and lift up a professional full range B&W studio monitor, or even a high end home hifi, its massively heavy and there is a reason for that.[/quote] Studio gear is far less likely to be getting dragged about from venue to venue. Portability is a much bigger concern for live gear. Perhaps in an ideal world a heavier speaker cabinet would perform marginally better, but how much is that worth? The gear we have now is leaps and bounds ahead of the stuff from back then because the technology has moved on. I can get a fantastic sound from my lightweight 2x12 Barefaced (the sound in my head, no less), so why bust my balls dragging antiquated gear around? Basses are another issue, mind you. My Warwick weighs a tonne despite the tiny body, what with it being solid Bubinga. I don't subscribe to tonewoods either, it's just that it's the only bass I've found which ticks all the boxes for me.

I seem to go through phases with mine. The calloused skin seems to dry up then peel off to the side, leaving fresh, raw feeling skin which takes a few days to toughen up again. Rinse and repeat. YMMV. Should add that this is just with my plucking hand, never get any grief from my fretting hand for whatever reason.

Reinforcement where none was needed of my prejudice that all single cut basses look ghastly.

Reminds me of a brilliant interaction with a punter at a gig once. We'd set up our PA and soundchecked, then as per request of the venue, put some fairly quiet music playing through the PA in the background (a range of hits from the 60's to the present day) and had gone to have a quiet game of pool in the pool room before the gig started. I can't remember exactly what artist had come on, it was perhaps Dizzee Rascal or something to that effect (not my scene). This one bigoted oaf came barging into the room, grabbed a cue, and demanded, in between a variety of threatening remarks, that we "turn that f***ing n****r music off right now". Anyway, we put some Stevie Wonder on and he was happy as Larry.

[url="https://www.youtube.com/watch?v=w3Hn8ywmjEI"]https://www.youtube....h?v=w3Hn8ywmjEI[/url]

Red tort of course. Just kidding. I'd try an anodised gold or white pearloid, personally.

There's also a much greater variety of bass gear in frequent use than guitar stuff. Generally speaking, guitarists are a lot more stuck in their ways.

Think of your string as a waveform. The fundamental frequency has a wavelength twice the length of your string. In other words, it is the loudest at the 12th fret (the peak), gradually fading in both directions to nothing at the bridge and the nut (the node). Now picture your pickup placements relative to this. The bridge pickup is barely away from the node, and the neck pickup isn't doing much better (unless you're playing an EB-3 ). The point being that your pickups are already attenuating the fundamental frequency enormously, to the extent that the fact that you perceive that note is already almost solely down to psychoacoustics. Cut out the fundamental altogether, and what difference do you hear? In the vast majority of cases; none.* Reproduction of fundamental frequencies as a measure of the performance or viability of a cabinet is, I feel, entirely arbitrary, and usually the product of misunderstanding. It can be useful to know how low a speaker cabinet can go +/- 3dB as this offers an insight into the ability of the cabinet to handle low frequencies in general. The fundamental frequency of your lowest note is largely irrelevant. I personally prefer the sound of a bass high-passed somewhere in the 60-80 Hz region. It's something which a lot mix engineers will routinely do to a bass guitar track, to my understanding. Almost all of the content down there is useless mud. Removing it changes the sound of the bass very subtly but has a very pleasing effect on the overall mix, in both a live and studio environment. [size=2]*Disclaimer: It's been a while since I've done this physics stuff, it's quite possible that some or all of my understanding is wrong. Apply a pinch of salt.[/size]

Bought a Spector bass from Gary. Great communication, quick delivery, very well packed, no messing around. Would definitely recommend.