Leonard Smalls

Nice!

I like... Saw him a couple of times with James Blood Ulmer, but here's his collaboration with Burhan Ocal: [MEDIA]http://www.youtube.com/watch?v=mh9XB0miLFc[/MEDIA] Edited to add: Cheers Chaypup!

Funnily enough when I bought mine from Allbang and Strummit in 1990ish I was choosing between a Jaydee, the Wal (£450 and £500) and an Alembic (£600). And that Wal is now one of the only things I own that's actually increased in value. The Alembic may have shown a similar increase, but definitely not the Jaydee!

I think that there's a level that's "just right" for any particular type of music in any venue. If you're in a pub, such as my local which isn't a specific music venue, a rock band should be loud enough that you can feel the bass a bit - not so much that it actually parts your hair and physically removes your kidneys - but rock has to be felt a bit in order to be rockin, same with funk. However, a chap doing folky stuff with an acoustic guitar shouldn't be anywhere near as loud as that (although in my book he/she wouldn't be allowed in in the first place ) And neither should be so loud that you can't easily order a pint. An whatever happens, the sound should be clean - I don't mean no distortion effects obviously, just that the PA should have sufficient headroom not to clip every time a note is played.

Depends what you're doing! Mellow jazz doesn't work at ear-spitting levels, same as metal doesn't work at dinner jazz levels... I've always played loudly, but then I've been wearing earplugs for 25 years! Not constantly, though - that would be odd.

I've used my Wal for punk, funk, reggae, rock, jazz and mixtures of all of those! Ad here's some multi-Wal shredding fun: [url="https://www.youtube.com/watch?feature=player_detailpage&v=IKNSkprZVvo"]https://www.youtube....e&v=IKNSkprZVvo[/url]

[quote name='Dad3353' timestamp='1444772853' post='2885996'] Why go to such lengths..? Could you not have simply given it a light polish..? [/quote] A light polish doesn't hide the smell! <p>[quote name='lurksalot' timestamp='1444771124' post='2885962'] That is fantastic , love it to pieces , and at 4.51 it still feels a bit short !! [/quote]

I've rolled mine in 3 different colours of glitter, added an antique wax finish and coated it in diamond-hard varnish. Enjoy! (or not!) http://soundcloud.com/dredd-and-the-badass-weed/say-what

Strangely, I tried posting a vid this morning using W10 and The Edge (no not him!), and the vid didn't appear - just showed a big white space in the post. Just changed to Internet Explorer - same laptop and W10 ad there's the vid...

I can't add links or vids either... Windows 10?

Another funker gone... Was one of the founder members or Was (not Was), played with Parliament/Funkadelic and the Brides of Funkenstein (on guitar and bass). [size="2"]http://www.youtube.com/watch?v=tFVfRCkq2PU[/size]

I have a similar problem, except instead of scream-metal it's folk... I put an ad in the local listings mag for musicians to make music "like Parliament via Ornette Coleman, like Motorhead vis Material". And I got 3 replies, all of them wanting to do Beatles covers! Now I'm playing a couple of gigs a year with a band I was at university with 30+ years ago, plus occasional free-improvisation jazz-electronica "happenings" locally involving a laptop, bass, prepared piano and 2 trombones. (I think we need an "eek!" emoticon here!) Plus lots of playing with myself on the computer with Ableton and EZ Drummer!

My class AB Bryston hifi power amp uses 215W at idle - i.e. just switched on. Full rated RMS power is 968W into 4 ohms, and the amp itself is rated at 2200W; this means that peak power is 1382W/ch into 4 ohms, so it's a total peak power of 2765W, which is considerably more than the rated power... Which means that the relationship between current draw and sound output isn't quite as simple as a few rating figures might have you believe... And in addition to this, sound output is dependent on the efficiency of the speakers, then different frequencies need different amounts of power to produce, then there's etc etc!

I'm going to do a 45 minute piece called "$*** Scum" ($%£&*$ swear filter!) featuring samples of Michael Jackson and The Beatles. Waddya think?

Looks like the polls never close! Either way, excellent songs by Bilbo and XG - congrats! And looks like I'm 2nd bridesmaid yet again...

At a recent house party...

You been to school for a year or two Know you've seen it all Dead Kennedys - Holiday In Cambodia

One of my favourite tunes with Jaco: [MEDIA]http://www.youtube.com/watch?v=-utN0_h9WlU[/MEDIA] A proper builder...

Her performance inspired me to look at her latest album; unfortunately it's not quite as good as she was live! I also liked the Macabees 1st song...

I listen to 6Music a lot...

Finally done one... Tis a protest song about sailors no longer being able to get 3 sheets to the wind. https://soundcloud.com/dredd-and-the-badass-weed/first-day-of-september

[quote name='BassBod' timestamp='1442407673' post='2866731'] I've still got some 1961 LS3/1 speakers here at BassBod towers....these are the early outside broadcast big grey boxes, with 15" paper cone speakers in. I understand they were used all the way through to the 1980's. The bass response is very generous and seems to come from nowhere (although they don't do loud)....nothing like the Spendors/Rogers and other bookshelf sized BBC designs I've heard. If you were listening to these as reference speakers I could see how the bass would easily be left low in the overall mix. Add some low end bleed form a loud live band and it could be a problem. [/quote] There were still some LS3/1s in East Tower Projection suite in the late 80s... I think "warm" best describes their sound - though the LS5/8 was not exactly clinical either! And despite the size of the bass units neither did much below 50Hz, just a nice big bloom at 50-70Hz.

[quote name='obbm' timestamp='1442184563' post='2865039'] Video recording started in the late 1950s and by the 1970s it was still a bit of a black art. Because it was the most difficult priority was always given to recording the pictures. The audio tracks were a bit of an afterthought and the concept of synchronising a multi-track audio recorder wasn't even considered. The workhorse video recorders of the broadcast industry were the Quadraplex Ampex VR2000 and the RCA TR70 which both 2-inch tape. The video was recorded transversely across the tape using a 4-headed scanner. Audio tracks were longitudinal and somewhat rudimentary by modern standards. The BBC used mainly VR2000s. Here is the brochure. Have a look at the audio specs. [url="http://www.digitrakcom.com/literature/VR2000BbrochureWEB.pdf"]http://www.digitrakc...brochureWEB.pdf[/url] . Initially there was no electronic editing so the only way to edit was by developing the tape to see where the control track pulses were and then physically cutting and splicing the tape to make a simple cut. Anything recorded prior to the mid/late 1970s was on one of these machines. By the mid 1970s the Quad machines started to be replaced by the C-Format 1-inch VTRs and then in the 1980s by the Analogue Betacam SP Cassette Recorders. Finally in the 1990s recording started to become digital and proper full-bandwidth audio was possible. [/quote] I trained as a BBC sound recordist in the late '80s, and as part of the training I had to be able to run a transmission suite or VT cubicle, which meant being able to line up a 1" or 2" machine for broadcast. Beta SP was only used for editing or location video recording and D3 digital was just appearing. And any studio recording (such as OGWT)would have been recorded to a VT cubicle onto 1" (or 2" until the mid 70s} until D3 became the broadcast standard. Until the 90s bands played at relatively high volume, which means that in the studio bass levels would be high and there would have been lots of bleed-through into the sound control room. Engineers then would have been monitoring on remarkably Heath-Robinson speakers with KEF drivers, which wouldn't have had any response below 50Hz. So a combination of this, no requirement to record below 50Hz because it would never be transmitted, even as a simul-cast, and bass bleed-through from the studios making making bass appear much louder than it actually was on the recording meant that low frequency levels were low... Even later when the BBC monitoring speaker of choice was the Rogers LS5/8 low frequency reproduction was suspect. When I was working on drama, especially period ones, I'd take a copy of the mix home to ensure that there was no low-level traffic rumble which wouldn't have appeared on the main studio monitors. As for 2" recorders and the difficulty of running them, I knew a chap in transmissions who had his own VR2000 at home. I remember him once ringing his 70 year old mother (unsurprisingly he still lived with his parents) and asking her to record EastEnders on the 2"! (this was 1991!)

I remember 2 violent gigs in Chester when I were a lad... One was at the Gateway Theatre where a number of local punk bands were playing, and the other was at the Arts Centre with Echo and the Bunnymen and the Teardrop Explodes. Both times a number of mods and skins came in and attacked the punks - that was the end of gigs at both those venues! But I also remember going to see The Exploited in Leeds in 1982ish; I was jumping around with arms flailing (as you do) and managed to punch a huge skinhead full in the face. I was a bit worried and sidled off, but he came after me, shook my hand and said "great dancin' mate!"

I've laid down some funk...