funkgod

they get you involved, giving phone number etc then say they wont do cash but can send you a paypall payment right now ! ! the rest goes without saying. though i dont know what goes on when they send you three links saying "is it the same as these" ,? or "my mum wants it can you email her the details" i think they just want to get you on to a more scamable platform/position

yep i get them all the time. all you can do is report and bar them, and i dont mind saying it is mainly one ethnic groupe. scumbags

oh dear 😞 oh dear dear dear, i play in an 80s tribute show. more of the classic new wave english sound of the 80s there are loads of great songs from the 80s. what i did get out of doing this band was just how much sh!t there really was in the 80. for example, we tried to theme the show in some sort of chronological order like say doing 2 number 1s for each year then just go through the years, great idea till you look at some some of the god awfull number 1s of the 80s, and most were that bad. its too depressing to type a list so here ya go... https://en.wikipedia.org/wiki/List_of_UK_Singles_Chart_number_ones_of_the_1980s also the 80s sound seems to be more of an english thing, as more english bands defined that sound, might be because our version of "classic 80" to us brits is what was rammed down our ears via english radio, im sure usa have there own version of classic 80s ? rock hair bands maybe, for me usa classic 80s was talking heads debbie harry madonna, jacko, but for me the english 80s thing was much more niched. also while covering some of these songs it made me realize how good some of the bands were, which i hated at the time, but now think they are just stunningly good, nik kershaw, go west, for eg. in fact i think rick wakeman said the best song to come out of the 80s is the riddle by nik kershaw, and if you take the time to learn it you will see why, some of the cord structure in that song should not go together, it does not fit in any other song but that, niks a very clever talented guy no doubt, as is the members of go west and a whole lot more, but yea, a real eye opener. great playing by all and bass tighter than a gnats chuff. enjoy.....

its ok all sorted now,

I have all 3 and for me its this 1, the wal iv been using for 30 odd years and if you want it to spit fart grunt and pin people to the back wall looking like they have all just had their face smacked and kicked in spuds, then this is it. i have witnesses 🙂 ...well... them that can still string a sentence together without dribbling that is 🙂 2, Reg the G&L, its the only thing that came close to giving me that power and grunt after retiring my wal and i tried nearly everything, (still have most of them ) the g&L L2000 E now is my main bass when i want to create all out seismic disruption, and... it can do it easy. 3, the stingray in terms of power does not come anywhere near the two above, you can get it to break up easy, just play harder, but that weak G string makes me hate playing it live, all the stingrays i have and tried are the same. and the sound width is no where near the wal or the G&L, and in fairness its not going to be as the others have the x2 bucks 4, the thumb bass is a great bass and no doubt can grunt like the best of them, again has not got the sound width as the first two, if this is what your after, but yea a great sound, so much so i have the same active pickups in a jazz bass,with a tailored john east pre and iv just got another one from a guy on here to add to the bridge one to create a 2x mec single coil to create humbucker at the bridge, the g&L and the wal with the right amp and speaker can punch you in the chest the others at the same vol wont give you that. I think the G&L is prob one of, if not the most powerfull production bass on the market today, one of the best basses but unfortunately with the worst back up in the world. once you have the bass they dont give a sh!t, ( be luck if they get back to you at all ! ) . thats been my experience using them. Now.... if i can just pry that nice 2000E from "geddys nose"

2 basses if i may. 1... nothing at all to do with the value, from the 2nd week i sold it i missed it like hell and right now could really do with it, i sold it because was not in that kind of band any more and still had my main wal ( which i still have) so thought the midi side was not needed any more. i was in a Trio years ago, the drummer played electronic drums and keyboards in parts and backing vocals, and did the lights on a home made board, all these 240v home made switches at his hi hat foot, something that no one but him dare touch, scared the fu@k outta me, you could see the copper cores ends going into all these switches ( really ! ) love to see the risk assessment on that now, the singer was his brother who played guitar, i played midi bass keys, percussion, vibes, synth bass and of course bass and backing vocals. when we played at hendersons pub in blackpool on a two band showcase night to try and get on his books for the then branigans chain, the band who was also there accused us of using midi files and even hendersons staff whos office was upstairs i think, came to look but it was all the drummer and my wal midi bass, great little treo that was, so... i used that quite a bit live with all sorts of things but mainly a roland D110, great piano for "let me entertain you" but yea wish i still had that, i dont think anyone ever used that bass to its full potential, once you really get into it it was just... expansive. i can't afford to get it back now even if i did see it for sale, for me a real shame. but i really really do miss that for lots of reasons. 2... when the stylistics were playing in liverpool in the late 80s maybe early 90s, i had arranged to meet the bass player to swap my JayDee super for a pre stingray slab body natural, this was a pre order from musicman, prob one of the first few hundred i would think, which i also used allot, that stingray really had its own thing going on not like any other stingray i have had since, i now know its all in a bid to get that sound feel back again, and there has been a fair few but non ever the same. iv got some vids of that one, still got the custom built preamp the my friend a electronics wizz made for me to go in, which is another world in terms of design,, so thats the other. now.... i can prob afford to get that stingray back if i see it for sale, so alls not lost. we will see

Been checking out the 500 thanks for that interesting. 1 the original 2 the new version 3 the plug in. going on reports and what i hear if i had the cash the original would be cool as hell. here is a shoot out of the 3. i will have to do a vid of the yamaha rev7 it really does have its own thing going on in a good way. reverb on bass is a solo thing for me and only use it for that, iv never put reverb on bass in a trak. fretless bass with that boss rev 3 sounds just fab tho, very hi end studio sounding right away. cheers for that

just to add to this, after abit of scooting around the net, and talking to a few old hands in the know i went round to one studio to a guys who has done allot over the years, worked for universal for 18 of them and produced loads of bands right up to sessions with prince, learn't a lot there, so... out of it came a cheap option with an "old but gold" tag not as high deff as most but what it adds im converted and i now love it and in the process of redoing songs i have to use it on a few things. Ok im sure loads of you already know this, but this is a new piece of equipment for me, never heard of it before till a few weeks ago. YAMAHA REV7 picked this up for £140, when it arrived it was just this horrid hissing noise, and the eq did not work and the vol in pot and fx blend only worked in parts, and there was no LCD back light, ..friggin ebay again ! !... i was very pi@@ed off to say the least so was going to send it back and hunt for another but the seller said he would refund me £70, so thought i would take a go at it, Thank god in terms of build quality its top draw for loads of reasons so great to work on, changed the eq pots the in pot the mix pot the o/p BP caps the power supply caps and the 400v one and the LCD . total cost about £20. got it all up and running fine, and what can i say... I love it, its been a real eye opener for me. all parameters are right there on the front you dont have to go through menus which i hate and one or two you don't see on reverbs. some presets are very usable the one for brass is perfect for what i want when using the snare drum one its clean, you don't get that boomy noise right after the snare as in a few of the TC reverbs i have been using, it also has the "eq" which only effects the we sig, its parametric so .... low, swept freq and level .. mid , swept freq and level .. hi, swept freq and level .. right there on the front so a little hi mid and hi on the snare really makes it "pop" i have done quite a few "A" and "B"s with other gear i have and its a horses for courses thing, i don't want to blab on about it but for one more setting... SLAP BASS........... heaven right there on preset number 19 electric bass A, iv never come across anything quite like this before, im sure there is something out there that will do it, but this when playing a slap line seems to take all the air and noise out between the notes , but... not like a gate, you cant hear any thing going on and off great tho hear, im not sure what is going on here but is worth having just for that for the price of a comp peddle, anyway still exploring its possibilities. these were out in 1985 and were used in loads of studios on loads of tracks im told and are still in loads of studios, just for "that" sound, check them out but for £150 .....well about £90 after fixing it i can say its prob my best investment of last year. im now using it on the next two tracks im releasing on brass, snare, flute, strings and will have a go on vocals see how it gets on. keep yall posted on how i get on with it. https://www.soundonsound.com/reviews/yamaha-rev-7-digital-reverberator

you can use it to your advantage at times... its the perfect excuse for when someone wants to have a go of your bass. or for when a drunk idiot decides he wants to be in the band as well and gets on stage, or for me the best one.... a great excuse when a fu@k wit dj asks you is it ok to go through your pa 🙂 ( av you got your gear pat tested ? can i see? have you got a risk assessment ? can i see? are you insured ? can i see? ...ohhh you have.! ! ahhhhhh mmmmm sorry mate its only insured for us to use 🙂 )

loads already said, wayne johnson treo as a standout one here for me so far a few that have been missed for me. 1, loads of level 42 lps but if my are was twisted i will go with the first two early tapes and L42 L42 ( or rather the first one and the later released earlier one, but not the very first early demo early one... ahh forget it)) 2, Tower of power back to Oakland, by far one of the best lps ever recorded for me for 1000 reasons, i could write a book just on this 1 lp. i bought my girlfriend a copy in about 82 i loved it so much., just to add abit more on this Lp( and other TOP lps) is the jaw dropping tightness of roccos playing, so much so its very very hard to play because he plays so tight and not sticking to a main bass line but always interpreting daves bass drum pattons that some times you are not sure if it is a bass drum and also the seamless way he locks in with chester thompsons hammond bass note playing sometimes adding harmony to it creating this big fatness, if you want to hear a great example of this check out at about 5mins into squib cakes, iv never heard anything quite like this on any other album, some close, heard a lettice track called Ready to live that got close, but i dont think that playing will be repeated for a very long time. 3, Pierre michelot, Round about a bass, again for lots of reasons 4, Back door, back door, got all colin hodgkinson releases to do with back door, i love every single track on that learned most of them worn my lp copy out in doing so, i have two copys now ( and the cds) 5 The peddlers, various tracks from verious lps Tab deserves mention here, esp with the stunning trevor morais on drums 6, loads by julian crampton if i was to pick one i would say Supercharged by down to the bone. 7 could pick loads from the acid jazz era

merry christmas everyone. lets have ya christmas cracker jokes.. best one gets nothing. what did one snow man say to the other snow man ? ?? can you smell carrots 🙂 yea... i know 😞

also reading with interest, im still lugging around an HK Actor rig that weighs more than the van, the best i have heard as a comparison for alot less weight is the powered mackie thump 1000w tops, very light, and the mackie powered bins that went with them though im not sure which ones they were, the ones with the little black plastic square grills on the front, that sounded nice

I read it too, and while it was a great in depth account into all that was going on around him, and to be fair a very good read with loads of very interesting facts, but what you get from the theme of the book right through is that he is a cun! and always was and always will be, to the point that even his own autobiography could not hide that, yes he has a right to protect his music no matter how much money he has, i would do the same, but to say common eric... just send her a message to remove it, the answer to that im guessing is prob he has not the time to spend on sending thousands of messages trying to police this all day, so then its down to paying someone to do it as a job because that's what it would take, and not just one person... so by doing this im thinking he will get the coverage he wants in a bid to discourage future attempts. so my message to eric... ok you got the coverage you wanted, now be kind and let it go, but, we will still think your a cun!

Screaming at the top of his voice with his face red with rage.. STOP Z band, Stop Z band,,,,, OYYY, YOU !... I AM ZE TANK COMMANDEEERRRR ! NOT YOU, OK?..... RIGHT, EINS, ZWEI, DREI, VIER, seen that from Good ol george from the hex men. worked a treat 🙂

PUNK is back at last, !

thanks for that guys, big red, yea i have as said also i normally also just gone for what i had, and has done me for years, no one ever commenting on it, "over-thinking it" ahh no im beyond that now to the point of no return. i think i have seen the light .. more later..cheers for all that V type v4, i have also a boss rv3 pedal which i love on bass as it was the only pedal boss did that had reverb and D, delay in the same box befor they decided to split them and sell you two boxes, its a great pedal which i have also used in parts on tracks as in insert, good results for what it is. yes i do like the M-one its building block lcd makes so much sense and so easy to use. regarding brass.. read later in this ... thanks wintermute.. no i dont use plugins, i know im missing out here on some great stuff but my studio is all hard ware, not a pc in site, ( except the D8B HDR brains) though i do bounce things over to a cubase on my laptop now and again to "dabble" trying things, the kate bush trick is a new one on me i will check it out, but yea getting into multi verbs ok ... this weekend iv had a good read on the net trying a few things, out of this weekends lessons two things iv learned which most of you will already know and for those that do not, its worth a try. 1 if using say 1 reverb and then set all your instruments through it maybe at different times right through the track, then more of the track will have that same reverb right through giving it all a more back sound. 2 i have been trying this weekend using automation on the fx ( lucky my desk is fully automated, though cubase protools reaper ect all have this as std) to bring in the reverb as and when needed, but then get rid of it, so the overall mix is more dry sounding and more up front. interesting... so you say ...isn't that the same as just adding reverb to the parts as and where needed ? yes .. but.. using automation a bit more cleverly not only can you just bring it in when you want but also change the amount and use the dynamics of it also as the track goes on, and to all the various parts, so as in the OP i can add longer washes on vocals and shorter ones on the brass giving the brass a more up front stab to the sound, all using the same reverb patch, so sounding more consistent in the track (? ..we will see)..so not the same as washing all the whole track on the same setting.....clever, for gods sake don't ask me anything else on this as im just still on the new idea of it all, but can see the potential of it, more later. but got that from reading somewhere in this..

sorry not exactly budget keys but does give an example of whats available if your looking to upgrade maybe second hand, im using a nord stage keyboard and nord have a site they keep updating free so you can download the brass samples straight into the nord in seconds, for nothing except the price of the keyboard. here ya go.. https://www.nordkeyboards.com/sound-libraries/nord-sample-library-30 as with all keyboards there are some good and some,not so, dont get me wrong not bad, but not quite what i hoped for, so i too are always on the look out. i got so frustrated in the end i bought a trombone and a trumpet and just learned them, i can now do enough to get simple lines down and my mate a sax player just fills it all out, but,,, getting the ideas down first, iv been looking for something that sounds good with keys, tried chris heins horns and found it a pain i know lowdown loves that and has it down as we have had this conversation before, but so far the nord is my go to for quick lines to get the ideas down which leads me to my little secret which i have used loads NEW YORK BRASS. these guys are just great guys, they will brass up your track for not a bad fee, and also let you use totally free, any of there brass samples ( as long as you name them in your credits) and there is some crackers if you know how to yse them. for example and can speed them up or slow them down to drop or up the key, i use a american audio Radius 3000 dj deck for this, sounds great. so thats about as much as i can tell you, here you go, with some great advice on recording brass, just send them a message asking permission and they will send you a link to down load the better quality samples. enjoy... http://www.newyorkbrass.com/download-free-brass-samples.html

Hi all not much going on this topic, yet it seems its something we all use. i have found Reverb for recording and bass abit puzzling and end up just putting in what ever sounds god at the time and what ever i have plugged in at that time. i never really gave it allot of thought, but its no doubt more of a science than one would think once you get into it. some say dont mix reverbs in tracks, some say do bla bla bla and so it goes on if i can just narrow down this whole conversation to two things in the same track 1, vocals 2, Brass ( or for you maybe something else other than vocals) i have as said just use what ever reverb i have at the time for both so some reverb on vocals and then the same reverb on brass but just turned up slightly more. lately i have been doing some testing with different reverbs for vocals and brass so on my mackie D8B i have some nice mackie verbs and some tc reverbs but i also have some outboard gear like... an old quadraverb TC M-one TC Fireworx. so im trying different patches on both vocals and brass, and im now thinking it was worth the effort, the mix i thinks sounds better with the two different ones, more eeerrr dedicated shell we say. so im trying different pre delay values so the brass stab for eg still has the power at the begining of the note with no reverb but then comes in after the inital BAA stab, again tightend up my brass mix no end. Another point, if you are recording in say 24 bit and use old reverbs say from the quadra verb yes it does give you that late 80s early 90s sound as it was used alot then, i can hear it because i know i did it, but is it really that impotent that someone would notice against more modern verbs ? im just throwing this out there to see what others are using and why to get a better understanding on it all. so if you have have any links of just you using a particular type of reverb on something please put them up here for us all to hear and if you have the time go some way to explain what and why, also reading this https://musicproductionnerds.com/best-hardware-reverb some expensive verbs out there, has anyone one got an expensive unit they can do a straight A and B test with it and using something we all would all likely know to get a better idea of what them extra £ sounds like ? cheers all.

yep these are pritty hard to beat for over 3 times the price, i have been using them for years in the studio have about 4 pairs 681 sound great if you want extended bass and a bit sweeter sounding get the 681B ( silver pair) but dont mix your songs with the 681B or your mix will sound bass light compared with what your hearing in the cans,,, and i have noticed AKG have now a budget range that look just the same ,, but with an akg babge,,, you can see thay are made in the same place ! so at £20.. these are killer https://www.thomann.de/gb/superlux_hd681.htm

Daves right, two things going on here, 1 i already do the music i like cus i write it for my funk band, but it does not put steak on the table, sometimes only just about sausages. 2, to pay for this self indulgent passion i need some income, so i play cabaret as well ( covers band) in that, i dont care what i play, its not for me to like its for the people paying me, i will go with whats needed. so, if it pays me i will stick a hoop in my pants ware size 30 boots and a red nose on my face as long as the people are dancing i dont care al play any old sh!te cus im just a music for cash slag. 🙂 sorry i will rephrase that... im just a skint music for cash slag, out come = cash needed for funk.................. and sausages.

Yep, anything you get out of something is directly proportional to what you put into it, only in music its not, its dam hard work to get something out of it, and the pay is definitely not proportional but at least we like doing it. Now.. as said in the comments in the vid, i hear loads of musicians going on about how they are putting music on youtube and not getting anything out of it ! HELLO wake up, its your own fault for putting your tracks on there in the first place. what did you think was going to happen ? people are going to down load it, free, read youtubes agreements to which you agreed to when you put them tracks up, ( now i know this will open a whole new argument, and i also know these statements do not apply to everyone,) the only people that make money from that download, ( im talking joe blogs in his bedroom studio and unknown bands and so on) is youtube and all the people you agreed to let it be used, ie ebay "partners" so ok i get im just shouting out here, but i have said it so many times... there is a better way ! We need to use THEM "youtube" as advertisement for us ONLY and NOT let them use you. How do we do this ? Anyone serious enough about their music will or should have there own site. if not, then get one. Put your songs for sale on your own site as down loads for a fee you think is fair for it. then on youtube just download ( or is it upload) a part of your song with a link to your site where they can down load it for the fee you attached to it and scoot about other songs you have done, maybe they will download the whole cd. anyway this is how i do it. and these are Just my thoughts on just that one aspect. but dont give your songs away for free. UNLESS you want them to be free 🙂

only lightly related, but i love this , do not do dodgy huey covers,,, he will get ya 🙂