Dood

I like D9sus4/A, as for the rest of the picture, I've shut that out like all the other unhealed trauma 🤪

Would be interested to find out who made this.

Many years ago, I was invited to be part of a touring band and Annika was lined up as drummer. Sadly some politics got involved and it never happened, but that would have been an experience to tick off the bucket list. Such a great player, I love her vibes, a really 'compositional' player like working with Gavin Harrison.

Another 'highly recommended' vote for Shuker Guitars Artist series. Incredible instruments.

Isn't it! I remember first seeing it on Raw Power / Noisy Mothers the late night ITV rock music program when I was..well.. younger!!

Marc is a lovely guy, I hope all is well with him.

And One Of The Days by Pink Floyd (obvs prefer the live versions!) - That dotted 8ths pedal groove is SO effective and perfect for grabbing the delay pedal out. #NerdAlert - I remember watching John Giblin playing for Simple Minds at the Nelson Mandela concert - so much so that I recall him playing a Fender Power Jazz Bass Special - my PJ's of choice these days, cracking out a delay pedal at the end of the song. It's funny how these memories seem to come back to me when I read basschat posts!

Guy Pratt's triplet percussive slide thing here at 1.05:30

ALL of this. I teach this bass line every time someone wants to learn slap bass. It's the perfect antidote to over playing, which oft ends up sounding like building a shed with drum kit. And a two chord song! Em - EAug

I'll refrain from recycling the old When Dove's Cry joke..

This is a tough one as every note in this track is perfectly and well placed. A bit of an odd choice from me, it appeared on a Sony compilation CD my mum had and I noted that the singer has the same name as my good friend and band mate, top session drummer Thomas Lang. What was more incredible is the fretless bassist on the track, expertly negotiating weaving in and out of the vocals, unbeknownst to me is a chap called John Murphy... yes, the same John Murphy responsible for the soundtracks of Suicide Squad, 28 days/weeks later, Guardians Of The Galaxy, etc! Ok, pick a note, any note.. 0.54 or 1.07 reaching high. or 1.30

I’m not really sure they’re making any ‘claims’, rather finding a way to help buyers make an informed choice. 100dB doesn’t seem too far off the on stage volumes I’ve been playing recently (some louder, some quieter) and, it’s a nice round number lol. Accounting for ear canal size would be nearly impossible to evaluate in this situation, that’d be the same as studio monitor manufacturers trying to capture end-user room acoustics as part of their figures. Yes, it would be amazing but completely not practical. That said, it’s not an impossible ask - Hearing aid manufacturers (or rather audiologists) profile how the ear canal receives sound and it’s applied along with the hearing test curves to the the hearing aid DSP to program the devices for best operation. The next best thing would be the 3DME Ambient Monitoring System IEM by ASI Audio / Sensaphonics that I have reviewed recently - An active system that includes EQ, limiter and a whole bunch of other options designed to protect hearing on stage whilst providing the most natural experience.

If only there were a website where all of the major ear plug manufacturer's ear plugs were tested for their actual audio response with sound examples normalised and compared to the source tracks. It would give us a fighting chance of choosing an ear plug that suits our needs. For example, in certain settings a set of ear plugs I have lack clarity and they are quite boomy, but they can be useful in other settings where the low end appears missing. I wanted a set of reasonably cheap "flat" ear plugs for general use for more speech intelligibility too and I went on a search to find answers... oh wait... here's one:- https://www.hearadvisor.com/earplug-rankings thank me later Also be surprised at how bad a response some are too (taking in to consideration A-weighting and the like)

And if you're looking for an amplifer with a suitable feature set then I recommend the Bergantino B|Amp (second time I've mentioned it today!) as it has high pass and low pass filters along withe a feedback destoryer (handy for acoustic instruments) and an fulllly parametric 4 band EQ rather than being forced to use what a manufacturer says you should have for your EQ. Oh and there was one for sale recenty in the ads section too.

😆 nice find!! Brilliant! - I'd forgotten about that one! 😁 super cool lil bass too! {edit} I was writing about sending a bass in to a flatter response set up, here's a good example! (The reverb has nothing to do with me).

Becky is a lovely person, engaging, very chatty and a delight to be in the company of. I know Becky deps with said Metallica tribute when they need a bassist too and stayed over for random vegan breakfast à chez Dood when they played this way a while back. Definitely works very hard managing/publicising Fury and playing in with Mercyful Fate. Great work ethic and "can do" attitude. What was it Nathan East said? "Attitude + Aptitude = Altitude"

Although a humorous answer, this isn't a bad example. Even if you bang a big wooden box, play the strings of a cello, acoustic guitar, mallet the notes on a glockenspiel, they all have certain characteristics in common where you should be able to tell that said thing is made of wood. (Unless you're the amateur sound engineer I encountered who seemingly couldn't hear anything above about 1khz..) Therefore, it wouldn't be out of the realms of possibility to suggest they have a 'woody tone'. And all have a lot going on in the mid-range frequencies, over, say, hammering a lump of steel or slapping someone around the face with a kipper. Yes, don't get pedantic, there's always the odd exception to the rule and as I said earlier, the rest of the signal chain can make a big difference too, but, isolating the instrument alone, those woody frequencies are in broadband mids. Another trick is to roll of the very low bass frequencies and have a gentle roll off in the treble. The Bergantino B|Amp has both low and high pass filters on it that are brilliant for carving the ends of the frequency spectrum. Brilliant!

The all important mid frequencies on bass carry a lot of the timbre information and that would be where the “woodiness” tones live too. As low as 300hz and up to 800hz depending on the instrument and signal chain configuration. Being careful to find which regions impart boxiness or muddiness. There’s a balance to be had, because, for example a speaker cabinet may have a big dip in it’s mid range, making it sound “lower” and deeper, however it will mean there’s more to be pushed in the mids to get them back. So, I suppose I am starting from a “plug the bass straight in to a studio monitor” sort of place. Actually that’s not a bad way to learn what your bass actually sounds like before it enters the signal chain. (I play my basses through big @$$ studio monitors every day, which frankly, dialled in is an absolute joy.. all those lovely rich details coming from such a sublime instrument….) *someone get Dood his meds, he’s off on one again…

Wow, have i really had my ‘76 this long? To think how many instruments couriers have lost and broken in that time, it’s truly scary!

Huh? Whut? Did someone say something? 😂 Blimey that's an OLD video! I look young!! I think GI are recycling previously released material - which is no bad thing. Not that I earn any more for reusing 'em!

Ah! I see. Shame about the latency issue! I can understand why you’d choose a hardware option now. I have an aging Mac (well according to Apple it’s old now!) and run many plugins either within a DAW or, like the Cory Wong, stand alone. Latency is negligible. For double bass and electric bass, the EBS Stanley Clark is a nice lil preamp, but I love the Bergantino Super Pre!

I've only really zoomed through the thread, so you'll have to forgive me if I have missed some pertinent details. I thought I'd just chime in regarding the teaching aspect: As yet, I've never needed an additional 'bass preamp' before my interface. However, if I felt the urge I do have a few on my "shelves of pleasure". I just made that up, on reflection it sounds way more dodgy that it's supposed to. I digress. A decent interface with a higher enough inout inpedeance isnt really that different from the input of a "transparent" bass preamplifer. So, rather than worry about getting my tone with extra boxes, I have always shaped the sound with a really good plugin. My teaching favourite for absolute clean (and totally dry) to mildly driven sounds is the Neural DSP Cory Wong X - in the DI/Channel strip setting. No amp sim, no cabinet. It is bonkers good when you get it dialled in and I'd highly recommend that over messing about with additional hardware. *unless the interface being used can not accomodate the output needs of the instrument. (Which I am yet to find on anything with more than two inputs). Just a thought! Oh, if you're on a Mac and you are using OBS or similar for online lessons you'll have no doubt come up against the issue of getting "computer audio (plugins/DAW/usic palyer) and microphone out to the other party" and this is also fixable.

Absolutely and utterly beautiful!! Congratulations! You’re a lucky man!! I was smitten when I played one of Jon’s JJ CarbonLite models with the carbon fibre necks. A bass that if I could have, I’d have bought then and there, it was just delicious in every way. That man has golden paws. I’m hoping to one day have a Shuker P, I’ve a bunch of ideas that I’ve had lurking in my noggin for a while, that would also suit the viewers of my reviews too. Brilliant news @hiram.k.hackenbacker, I’m chuffed to bits I was able to help in a small way and your new bass is just what you’d hoped for 😊 I love to see others happy and winning at bass

Wait! What are us bassists even doing up the dusty end! North of the boarder without our treble passports!!