NickD

I don't go for the 'didn't understand it' line... I did, and it was less useful than it could have been, and the lack of FX loop denying me a solid octave before the DI was the killer. Definitely considering a pre-order on this though, the pre section was great, and honestly I think it's the first bass chorus I ever found that I really liked. It's great when companies take things on board.

Tidy! The lack of FX loop is what led me to ditch the Mk1... If only they'd have fixed the Octafilter section though... everything else on it was brilliant.

I learn the bass part until I've totally got it, then I learn the vocal line until I've totally got that too... then I sit and busk to myself with both. A lot of it just falls into place, and it's often just a couple of little bits that are tricky, where the bass part trips the vocal up or vice versa... Just hammer away at those bits, repetition, like everything else.

Had a Motorbass pedal from Simon. Dead easy deal and quick to post. Thanks!

Ian Bought my 3 Leaf Octabvbvbvbre! Couldn't have been easier or friendlier to deal with. Many thanks

We'd be in a lot of treble!

I bought a Shuker from Paul. The whole thing couldn't have been easier or friendlier. Great, pleasant, helpful communication throughout, very welcoming, and a pleasure to deal with. Cheers!

No matter what I try, no matter how well reputed or expensive, I always end up realising that D'Addarios sound better and last longer at a considerably lower price, and end up going back to them.

That's awesome!

Congratulations both!😎

Another tricky month, it took a fair bit to get it down to just 3. Well done everyone!

Whereas I bought something with a lesser name for considerably less, because I'm not a snob and tone is in the fingers anyway.... or something.

I use a pair of these, for pretty much everything. The Mrs has a set of HD280 Pro, and particularly for mixing I much prefer the much cheaper ATs, as I find them more neutral and realistic. I wear them for hours at a time too, with no discomfort.

Depends if you're a pick or fingers player, and how much compression you use.

My Elwood L5 is alder and maple according to the spec sheet, but wearing it I'd swear it's balsa wood, feathers and helium.

I play this game with myself all the time... what if circumstances changed and I had to sell up and just go for something that's flexible enough to cover any project, plays well and sounds great for both gigs and recording. With that budget, new, I'd be going for the Yamaha BB435 and getting a decent bit of change back... Used I'd be looking for a BB735A.

LoL. Just A/Bd section by section... The volume difference is big! It is rougher, more open, and breathes better. Definitely more to my taste, and more appropriate to the song style to me.

Oddly enough I'm listening now, while I'm sorting our new projects FB page in advance of publishing it... Followed LS while I'm at it. I think (again, not having heard it live or in earlier versions) that tepid is doing it an injustice. True that for me, a touch dirtier would be better, but I think of bands I love and the recorded versions are always a little more sanitized than I would like... But, I'm also very conscious that I'm probably in a minority, and that while it might get on your tits a bit, giving those tunes a more poppy production probably won't do you any harm in terms of reaching an audience, exactly the opposite. Incidentally, kudos to the mastering guy... I'm holed away in the bedroom doing this while the Mrs practices drums downstairs, and to avoid competing for volume I'm just listening on my phone... And it sounds as good as on proper kit yesterday... That takes some doing.

It's hard to say, not knowing what's in your head, but after a couple of listens I don't think there's much wrong with that The only slight incongruence is that the songs are kinda raw, while the presentation isn't, it's pretty clean and 'organised'. It's the kind of material I'd prefer to see live, with feedback, dirt and random extraneous noise, and it's hard to capture that feeling well in a studio together, let alone recording separately.