derrenleepoole

Sounds like the realisation or conclusion of the project is completely different to the anticipation and expectation of it.

Mr.B The Gentleman Rhymer http://youtu.be/xT2iP5Si-Ho

[quote name='Len_derby' timestamp='1337420715' post='1659587'] Thanks for posting this. They're a band that I just hadn't heard of. I've just ordered the CD off Amazon. God, this forum costs me some money...... [/quote] Doesn't it just! Glad you like it

Sarah Jarosz - a great vocal talent.

The new Squarepusher album Ufabulum

Brian Eno - Music For Airports. *chilled Monday morning soundtrack to ease in the working week*

Even when I was starting out playing at the age of 16 or so I never put stickers on my bass or my amps. I did on one or two of my hard cases, but that was it. I was at the time an art student, so you could call it youthful exhibitionism. If you do that sort of thing, stickers on basses and such, you're proclaiming an affiliation to a certain idealism - such as punk or rock or goth etc. You telling people that you're part of a stylised ideal. Now that I'm older, maturer and more boring, I don't feel the need to do this anymore. Who cares if I listen to this or that! Also, I've never been flush with money and have always had to work hard to buy my gear. So looking after it makes sense. Look after your gear and it looks after you.

Expensive gear can last a life-time, but equally it's prone to failure just like any other electrical product. Likewise, cheap gear is perceived to be inferior and not likely to be durable and reliable, but can also last a lifetime if looked after. I've owned Behringer amps myself, and both of them failed, but I was just unlucky with two bad amps. As someone else said above, Behringer amps are so cheap that it's not cost effective to repair them but simply buy a new one if it does fail. There's no reason though why that can't be reliable though.

Always nice to get a new bass. I've owned SX gear before, and they're grand bits of kit, highly recommended. I've never seen a SX bass with a proper Fender styled headstock before. Unless of course you have a very early model? I know they had to change them because of a lawsuit from Fender. Somebody more experienced I'm sure will pipe in and give the full story.

[quote name='The Dark Lord' timestamp='1335774407' post='1635625'] Get away with you. Me and my band do something similar to this version as the closer to our first set - always gets 'em up dancing and brings admiring comments from one and all at the bar. [media]http://www.youtube.com/watch?v=u5Sws-ZLfHQ[/media] [/quote] Imelda May can no wrong in my book

[quote name='pendingrequests' timestamp='1335272433' post='1628378'] Used the Promethan at a wedding for a bassist I was covering. All I can say is wow! The little thing sounded fantastic, it was DI'd (which is abit of a hassle as its tucked underneath the amp) and I got some feed through a monitor, so it was perfectly fine. For small-medium pub gigs, it would be fine. If it was DI'd, you would be laughing. [/quote] This is exactly how I use mine - DI'd to the PA, and use the amp as a very good backline. Less noise on stage means you can hearing more of what's going on

There is nothing to discuss. Zappa is the best

[quote name='BOD2' timestamp='1335524502' post='1632539'] Nope - it's generally not a good idea to cup the average (e.g. SM58) vocal mic. It effectively changes the pickup pattern of the mic, making it more sensitive in some directions. Since you're cupping it while feedback is occurring that means there's already a loud howl in the PA and making the mic MORE sensitive will mean more of that howl will reach the mic. As the user of the mic there's not a lot you can do. Stepping AWAY from the mic will sometimes help but the only real solution at the point of feedback is to reduce the gain at the mixer slightly. [/quote] Thanks guys... now it makes sense

So here's the thing, I've been gigging and playing live for well over twenty years. So I would like to think I know a thing or two here there about using mics etc. Not an expert mind, but I know enough to get me by. So here's the thing, when a mic starts to feedback, I've always assumed the quickest way to kill the loop if there's no other option is to cover the microphone, maybe with your hand, thus stopping the signal reaching the mic, thus preventing the feedback. Now I did this recently at a gig and the guitarist in our band when nuts saying you never do that! Ever! As it makes the feedback worse. Now our guitarist is very experienced, but this left me a little confused - if you're stopping a signal reaching a mic, you're preventing the feedback. Any of you enlightened chaps like to shed a little light on microphone myths, falsehoods and truths?

Now listening to Steve Reich's Music For Mallet Instruments, Voices and Organ

[quote name='oggiesnr' timestamp='1335286789' post='1628695'] The Alan Lomax archive of field recordings has been put online here [url="http://www.culturalequity.org/"]http://www.culturalequity.org/[/url]. Hours of field recordings from 1946 to 1991 from all over the world. Great to dip into. Steve [/quote] Good to see a fellow lover of the Lomax field recordings

The new Tord Gustavsen Quartet album The Well wonderful. Beautifully recorded and very understated with melodies and phrases that just hang in the air http://youtu.be/_3A6ziUPbdk

OLP's are great basses at cheap prices. People mod them because the relative cheap cost of the bass, plus the good quality electronic upgrades at good prices, means you can get a very reasonable instrument with a good unique tone for not much money. I did the exact same thing. Picked up an OLP for 100 or so, put in a Basslines pup for £60 and an Audere pre for £120 or so. A great bass all for under £300.

That's ace!

For the money you pay for named brands such as Ampeg and Orange etc, maybe you need to be considering some cheaper albeit just as good Promethean clones by Red Sub and Harley Benton. 300 quid will get you a 1x10 combo pushing out 250 watts, or 500 watts with an extension cab, or with the option to detach the head and run it at 500 watts into 4 ohms! [url="http://www.gear4music.com/Guitar-and-Bass/RedSub-BT5110-500W-Bass-Amp/C61"]LINK[/url] I have the Promethean combo which this amp is copied off, and from what players are saying on here, it's every bit as good but half the price. The Promethean is a more than capable amp and can easily fill out a room with good clear sound.

Andy Sheppard - Movements In Colour Listening through a valve headphone amp + big Sennheiser headphones = lush

It's reassuring to note that a good and albeit cheaper alternative is available to the Promethean should the situation ever arise to replace it. Good reviews guys, very intriguing stuff

Man, this thread has given me some food for thought. My originals band from a few years ago had material written mostly by myself and the keyboardist. Either I would have a groove idea and the keyboardist would do the filling out, or he would have some charts and a melody and I would find a bass part to match. Quite often the drummer didn't write the music with the exception to offer ideas for arrangements etc. Now we're no longer together, I'd never given it much thought about what belongs to who. Mmm... no you've got me thinking and pondering.

[quote name='phatkat' timestamp='1333316447' post='1600084'] Just about gig ready with my current band, we dont plan on playing more than once or twice a month and the thought of having to use all four cars to shift the gear is a nightmare. I also own the pa and feel kinda responsible for its transportation... who else has this problem and how have you resolved it? G... [/quote] Man, how much gear do you have that requires four cars to shift it? It must be one big PA

[quote name='guyl' timestamp='1332940891' post='1595180'] Unfair to make it the sole responsibility of the Drummer. If the band speeds up his choices are to keep metronomic or to go with them. If the band still push, and he won't go with them, it may sound unmusical .... [/quote] ^ This