wateroftyne

These techie explanations are great - they're really explaining what I've been hearing for a while now in the consumer bass end of the Class D market. If someone (Alex?) can come up with a lightweight with a power supply that isn't lightweight (if you know what I mean), colour me interested.

Hey gang Earlier in the week I was lucky to get a sneak peek of the film of the Jools Holland live show from Blackpool that's being shown at 9pm on BBC4 tomorrow (Sunday). It's fantastic - great music, incredible band, and the rhythm section are awesome throughout. Well worth a watch. [url="http://www.bbc.co.uk/programmes/p02xyybt"]Here's a clip.[/url]

Whoops.. link: https://qello.com/concert/R40-on-the-Road-Webisode-4-6432

Bump for this new vid.. Just.... insane.

[quote name='LewisK1975' timestamp='1437652687' post='2827858'] These sort of threads (whilst sometimes interesting to read for the occasional pearls of wisdom/knowledge) are farcical really. We all have things we like and things we don't like. What a dreadfully boring world it would be if we all liked/disliked the same thing. And for anyone wondering my rig is all lightweight, PUMA500 and 2 Barefaced supercompacts. I personally am very happy with my setup - someone else might think it sounds rubbish. That's fine, it's ME who has to be happy with MY setup. Opinions are like private parts, everyone has them but when you start waving them in people's faces people don't generally like it!! Rant over! [/quote] I disagree. You like what you have - that's fine. Some of us think they have - generally speaking - a common characteristic, so we're just having an interesting discussion about the merits of commonly available class-D bass amp technology.

It's the real deal.

Yeah. I'm pondering another, too.

No problem. If there's a catch, I've yet to find it... I've gigged it a lot since I got it, and when I pick it up it already feels like I'm 'coming home'. My poor '71 P is in a right huff. :-)

Just drop Adrian an email via [url="http://www.public-peace.de"]www.public-peace.de[/url].

I've recently joined a covers / wedding / function band recently. 50% of the set is probably stuff referred to in this thread, but.... most of it has passed me by until now, so I'm hearing it for the first time and I'm enjoying it for what it is. Mind you, it's canny weird that most of the bass parts on the newer songs are just four-on-the-floor roots stuff in the U2 style. It gets a bit confusing when you're trying to remember which song you're playing.

[quote name='Lw.' timestamp='1437400197' post='2825631'] As a side note but kind of related; actors (and writers) on TV programs get paid a royalty for uses after the initial broadcast of a program - there's a set of rules negotiated by their union (Equity in the UK) that apply to all featured actors (ie not including extras), for their version of a streaming service, say Netflix, the actors each get their pro-rata'd share of a percentage of gross revenue from that sale so they're not paid on a per-stream basis either (though I accept that some musicians royalty statements will show them getting a per stream rate, it's generally not worked out like that which is why the rate looks like it changes on a monthly basis). [/quote] That's a good point. A question to Dad3353: As I understand it, you don't think artists should benefit from repeated plays of their work. Do you think it's acceptable that the likes of Spotify etc. benefit from repeated plays of their work?

[quote name='Dad3353' timestamp='1437385594' post='2825418'] It matters little to me, it's firstly the principle of the thing. I don't believe in royalties and intellectual property as being revenue sources, that's all, either for one or for all. [/quote] Ah, that's where we fundamentally differ. I see recording music as an investment. if there's no way of recouping it, what's the point? Musicians aren't paid a decent hourly rate for recording, like they would be if they were fitting a kitchen..

[quote name='Dad3353' timestamp='1437384403' post='2825399'] Being honestly paid for one's labour is fine, right and proper. Being paid for lounging by the pool with a long drink has no place in my scheme of things. [/quote] ...what % of recording artists enjoy this sort of lifestyle, do you think?

[quote name='Dad3353' timestamp='1437383523' post='2825386'] That's not quite what I was referring to in the (admittedly weak...) analogy. The basic point is that, if and while work is being done, then the work should be paid, no quibbles. Once it's done, though, it's done, and shouldn't generate revenue simply for the fact of being 'wanted'. I was comparing the listening to a song to someone coming to look at (not own, nor take away; just to look at...) a painting I'd acquired. The original artist is not paid 'per look', and doesn't get to know whether his work generates a lot of lookers or not. His work is finished, and has been paid for. [/quote] Paid for by one person (who possibly commissioned it), who then owns it. What's the parallel with an artist investing their own time & money into creating an album? I honestly don't subscribe to this 'music is worth nothing' school of thought. It brings pleasure. Someone paid to make it. They should be rewarded.

[quote name='JapanAxe' timestamp='1437325548' post='2825095'] Great performance! 'Unbelievable' - in what way!? [/quote] One word: Trilogy. A mainstay of these festivals, and example of which is below. The first time I saw one of these, I couldn't stand up for laughing. It didn't go down well with the regulars. http://www.youtube.com/watch?v=L3KyZpbKn-8

Here's us at a country festival a few years back. Note the hats in the audience. This is nothing compared to the country festival we did at Skeggy around the time. Just.. unbelievable. http://www.youtube.com/watch?v=feSBUWJLBbk

I doubt you'd tell unless you could A\B them in a real-life scenario with a drummer. But then, I think it's either something you pick up on, or it passes you by.

Unfortunately, in the UK the country scene also means line dancing, people dressing up as Injuns, and carrying toy guns. It's a shame.

I think more and more people are starting to realise that the modules used in the current crop of lightweight heads are lacking. I won't be going back until something new is available.

http://basschat.co.uk/topic/264835-current-class-ab-amps

[quote name='cameltoe' timestamp='1437154101' post='2824110'] Visit the bravewood site and look at the lightly reliced stuff. It's amazing. He doesn't always go to town on them! [/quote] Oh, aye - they're much better than what I had in mind. They're a fair chunk of change more than the Limelight, but I suppose you get to spec more...

This is like one of Ashdown's hare-brained schemes...

I have no hands-on experience of the Bravewoods, but I've never been keen on be relic'ing. I much prefer the look of the lightly-relic'ing Limelights, and the J I owned was a stunner. Yes, you're more limited for options - that's why I went down the Maruszczyk route. (Incidentally, they also do relic'ing).

[quote name='Lw.' timestamp='1437043196' post='2823009'] Though saying all that (now going slightly off topic), what I think is being missed is that recorded music sales is not the future earnings for musicians - those times are long gone. The money should be coming from performance & artist partnerships - in an age where everything is available instantly & often free a bigger premium should be being put on the magic of being in the room when music is being created, space is limited so cost can go up - recorded music is really just a marketing tool to get people interested. [/quote] This is quite true, but it's a shame for those musicians who aren't - for whatever reason - creatures of the road. Especially in the current climate of dwindling live audiences.

He's been self-destructing for years. The band look as embarrassed as you'd expect. Poor buggers.