Owen

Before we begin, I know it is a sample. However, it is rubbery and squelchy and all sorts of things I like. What is going on in the processing? Any ideas?

It is something I am reaching for.

I would do it all the time if I had the coordination.

Crass and tasteless.

I give up. What is your day job?

I recently bought one of these. It sounds very lush, is sparkly orange with a matching headstock and cheap as chips. What is not to like? https://reverb.com/uk/item/59661798-yamaha-bb415-orange-metallic

That is the truth, but I live in the back of beyond and my daughter is in Brum so I will have to take a punt.

Gwilym is correct. The Bass Safe is superb.

Many years ago I conducted WSS. The college I was teaching part time at anounced we were doing WSS. Great, my fave, I thought. I then realised that Ianto would not be conducting it, nor Beth so it would be me. I was WAY out of my depth but gathered the good local players together, had one band call and off we went. There was one number (I honestly cannot remember which) that was a slow 3. In the band call I gave the option of a slow three or to count in quavers rather than crotchets and beat 6. We decided and I naively thought they would remember. Come the first night we hit that number. I had a 3 week baby at home and was undergoing extreme sleep depravation. I beat in and half the band were where they should be and half were rushing ahead on double time. It took me 4 bars to work out what was happening and stop the number, announce I was beating whatever I was beating and start again. Some years later we did it again. By then we had started the music tech course. So had to use our in house students who were a bunch of guitarists/bassists/drummers. I had the whole WSS score as midi files so hit the tab option in Logic and made arrangements. I had a piano part on CD underscoring it. Just for security. The whole pit were monitoring on cans and I had a student doing playback and running foldback in the pit. He got stoned and turned the CD off at the end of the segue into the finale of the first act. There was a huge rall into the final song and he presumed it was over. The music stopped at 2:36 (or something) into the track. There was zero chance he could find the cue. I frantically looked at the score and hissed at the pit keys player to give me a cue note. I started singing solo while the cast caught up with what was happening. There was a huge amount of adrenalin floating around. The cast picked it up and did the whole number acapella. How we laughed. A few months afterwards. The Rumble was done as a version of the Vai/Corea one. The players lapped it up and we had a ball. I cannot imagine being stupid/brave enough to try this now. We had about 10 guitarists, 3 bassists and 3 drummers. It was absolutely epic.

Fair play, that is cracking.

Aha! I was vaguely correct. That is a pleasant surprise.

The Variax tech has always struck me as a natural home for all sorts of retuning/drop tuning jiggery-pokery. It might even do it, but I have never been close enought to one to see. I could be completely wrong. It would not even be the first time today.

I got all excited and have just bought a Shure KSM8. Lots of good reviews, quite a wide pickup sweet spot and needs very little done at the desk end to make it sound good. Given the nature of what she will be doing it is unlikely that there will be stellar engineers there so this should at least give her a fighting chance. Thanks all.

The Shure KSM8 looks very interesting. Reviews suggest that it sounds really good with no eq etc. Obvioiusly if you have a decent engineer then happy days. However........ Sennheiser e935 has also been suggested as solid choice which is not so expensive and likely to do what is needed.

This is the info I need. Keep it coming

My daughter is doing some live work. I have always wondered why voclaists do not bring their own mics. Here is my opportunity to make it right. Obv I could go with a 58 or a Neumann 105. The 58 is super old tech. The 105 is a bit expensive and she is unlikely to be using rigs which would do it any justice at all. Her voice is a light soprano, singer songwriter vibe. She does not belt it. Sennheiser 945? Beyerdynamic M88? TIA.

I'm feeling that.

And I am a complete sucker for those oversized P90 alike white/cream pickups in the ASAT Special guitars. Has anyone had a pickup cover printed that looked like an original article?

Yep, basswood and 8lbs 8oz.

Dreamy.

I had a Peli-alike case (Explorer?) for my EUB. It was a fabulous, fabulous thing. Wheels and everything. Proper lush.

Out of idle interest, do the comp elements of the Spectradrive correspond to the Spectracomp, tone print wise?