Beedster

There’s more than one of me mate 😆

This ^ I play music because of how it makes me feel and no amount of AI will change that. to me and to many people music is what is was way before tech, an emotional, social, and spiritual internal and external communication process. When we look at music as a product AI will change many things, but so did the advent of audio recording, the advent of electric and electronic music, and the advent of digital, all of which were talked of as gamechangers (both positive and negative) at the time. And just as previous generations found, new ways of being creative with the new tech will open up new opportunities for some and close doors for others

Agreed 👍

Wise advice for stage safety....

Yep, G&L suffer a little from the same syndrome I suspect, we respect their quality, but would prefer not to have to own one 🤔

For me, the models I notice look a bit derivative and cheap, but tend to be quite expensive, for example (first one I came across)..... It's a competitive market, Fender have most of it sewn up, and there are players such as Sire coming in with some very high quality and low cost instruments.

I’m currently putting together a Precision with a Dimarzio DP145 (with series/parallel switching), and I’m rather excited 👍

‘72 Tele is a tone to die for in the right setting , not versatile, but what it does it pretty special

Mass = tone 👍

'72 understands what proper bass is 👍

Nice looking bass, I still prefer the '72s 👍

Not unlike JE's awesome Live at Leeds tone the result of having to deal with Townsend and Moon

Sad, but almost certainly true Hopefully we're going to do Rattus Norvegicus in our album band, I cannot wait to experiment, in fact (between you and me) I've booked our rehearsal room for two hours ahead of the band arriving this weekend to start experimenting, over and above some clanky rounds, a maple board Precision, and some serious digging in, my preference is to get it as much as possible from wound-up tubes as opposed to small boxes 👍

That bass line comes in like a weapon, IIRC one of the music mags at the time described it as like being attacked by a barracuda. It is sublime 🙏

Exactly, there's four possible reasons 1. Personal choice (he doesn't want to use the old tone anymore and is happy to allow sound techs to do as they will) 2. Technology (he can't get the old tone anymore because it was the result of a specific instrument and a specific speaker) 3. Human error (sound techs don't know how to get the old tone from their systems) 4. Laziness (he and the band don't really care any more) I'm guessing it must be 1, hopefully not 4, 2 is out as suggested by @Lozz196, and if it's 3 then it to a degree amounts to 4......

Sounds like they took control, which is what more bands should do 👍

Exactly, so if JJB is reading this, mate, sort your sound 👍

I agree, but..... I genuinely think that it's not done in error, it's the sound the venues aim for, and in some cases, the only sound they are equipped for (as well as no doubt cost cutting in both people doing the sound and the quality of the gear the sound is going through). So in my view it often not the sound engineers we should complain about, it's the venues. More specifically, bands whose fans complain about poor sound at venues need to either take some responsibility or should not play the venues in question in future.

The corruption of live pop/rock sound is to my mind equivalent to going to see an orchestra playing a well known symphony only to find that the midrange instruments haven't showed up, and it's all either violins/flutes/trumpets or double bass/tuba/timpani. If that happened most of your average orchestral audience would walk out and demand their money back. Pop/rock audiences just appear to put up with it

Of course And damn, you'd have thought that Rush of all people would be on top of their live sound

Stranglers without that bass tone are not Stranglers, certainly not if they're doing tracks from the first three albums which I'm guessing they are, it would be like Rush without Geddy's voice... Venues seem to want all performers/performances to conform to this audio algorithm these days, to the point that I wonder if there's anxiety among venues that any deviation from the usual thump-gap-highs model will be seen by the vast majority of punters as poor quality sound; lets's not forget that the vast majority of under 30's have only experienced relatively poor quality sound in every application from domestic audio to large-scale venues......

I have this, it's for sale but due to lack of space as opposed to lack of either quality or functionality There's a few things to say about it 1. I've had similar powered speakers before, I guess most notable the hil Jones PB-300. I've not run them side by side, but given the difference in RRP I was extremely surprised at just how good the Blackstar sounds 2. I run both active and passive basses into the input for both practice and rehearsal and it works just fine, always good to know if you're gigging it 3. It also has a passive speaker input (i.e., bypasses the power amp stage) which I've been using with my Ampeg PF-50 and it sounds absolutely lovely. 4. It looks and feels like a quality unit In short, if all Blackstar gear is as well made, as functional, and as good sounding is this unit, they're doing something right 👍

Ah, I’ve just joined the dots 👍