Dood

Thank you for the much needed chuckle 😁

This thread is the internet bass forum version of reading about being edged by Bonnie Blue ..

Yup, I mentioned that.

Hey Burns-Bass You'll have to excuse my mammoth sized pendatry 🤣 Not only will the string be quieter when further away from a pole-piece, it will have less 'transient' tone and lack more frequenices often described as 'punch'. (I'd say mid-range, but it can vary). You can test this by lowering your pickups in to the body as far as they will go and then record the bass (adjusting for overall volume drop). It will sound different. Adjusting for transient response (making it more even) is why Leo Fender moved from a single-pole piece on a 51/54 style pickup to two per string as per the Split-Coil as an example. This change in construction also changes the tone of the pickup too, but that's not what's being discussed. For bassist that bend strings, the distance from the pole-pieces makes a huge difference. I'd demonstrate with a bass I have just recorded video for, but it is all boxed up already. It was really noticeable when the string moved out of the direct field of the pole pieces - which, is why i personally much prefer rail or bar pole pickups. The transient response is much more controlled offering a better, (louder in comparison) "bloom" of the note and therefore a richer tone. TL/DR .. is relevant 😊☺️

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!