aryustailm

[quote]Hadrien's lines are much more original in my opinion.[/quote] I agree - Hadrien has some really interesting ideas, regardless of chops. It's those ideas that are coming into fruition in my opinion, and moving him in his own direction, and away from being a 'turbo charged Jaco'. And he's still got decades ahead of him. I love Janek's playing too. His phrasing and tone are fantastic. He's much more of an 'inside'/tonal player to me. Hadrien can get pretty out there when he wants. Both are great

The scary thing is how effortlessly he does it all. I can't even begin to imagine what kind of things he struggles with. Whilst he gets noticed for his technique a lot, his note choice is what I find most interesting in his playing. So these sheets will come in handy Thanks for sharing!

I'd never met Simon in person, but I bought a bass from him that I still play very often. He seemed a thoroughly decent bloke when we chatted over the phone, but the posts here show what a great individual he must have been to know in person. Condolences to family and friends. Rest in peace.

I've stayed with Cubase simply because I know the workflow better than other DAWs. I can't quite bring myself to learn all the buttons / shortcuts in another DAW just to accomplish what I could do already. Having said that, it can be worth while exploring other DAWs to get new ideas on workflow. (e.g. Ableton's approach is great fun). Also, Cubase Studio 5 is highly capable and a fair bit cheaper than the full Cubase 5 if you don't need 1000s of samples, surround sound, advanced outboard gear routing, and extra plugins / VST Instrument's etc. I've used Reaper a little but only version 2. It looks like they've overhauled the MIDI functionality / workflow for version 3, which was the main reason I didn't look into it any more at the time. All the audio related tools were great though. Might have to have another look sometime... The new contender that I think looks interesting is Presonus Studio One: [url="http://www.presonus.com/products/SoftwareDetail.aspx?SoftwareId=11"]http://www.presonus.com/products/SoftwareD...x?SoftwareId=11[/url] I've tried the demo and it feels familiar to a Cubase user but with less windows everywhere. The UI and workflow feels a little more geared towards musicians rather than engineers. Also, a fair few (ex-)Steinberg / Cubase developers seem to have jumped ship to work on Studio One. Which may or may not affect the direction of future Cubase development. Definitely one to keep an eye on! Ultimately though, if you're happy with your results coming from Reason and Cubase, then there's probably little reason to learn a whole new DAW - just learn the features that have been introduced in the newer versions. You'll have more time to spend making and recording music, rather than having to re-learn which buttons to push

Bought a handful of cables from Dave - they're all fantastic quality and arrived very quickly! Big thanks!

I bought a Moog Expression pedal from Theo which arrived promptly and in great condition. Would happily buy from again - Thanks!

Totally sound guy, and showed me through some gear I was buying from his friend! Many thanks!

Bought a fantastic Sandberg from Ieuan - very friendly and helpful, and would happily buy from again! Many thanks!

Bought a Bacchus Jazz bass from Simon - great comms, and very friendly! Would happily buy from again Thanks!

I've got an Ampeg SVT DI box that no longer works. Is this something an amp tech could/would fix? Any ideas of people in London who could repair it? Many thanks!

Bought a lovely G&L L-2000 Tribute from Rob. Expertly packed and received promptly! Many thanks!

I love the necks - they're kinda of P like, but I find I can play a little more freely on the BB's. The necks are wide, and fairly flat (depthwise). The tone to me is fender-esque but slightly more lively. I've got a fretless BB2000 in natural and had a BB1100s. I haven't played the newer BBs, but I'm quite curious as i've been after a fretted BB2000 for years. I've even been half tempted to get the fretless fretted...

[quote name='"Bass_In_Yer_Face"']You had the dawning of new romantics, new wave, hip hop, goth, electro & Ska..to name a few off the top of my head...what have you got now?[/quote] You've got ALL of that, plus a whole lot more - everything thats come after, as well as evolutions and mergers of the genres you listed. There's even more fantastic music around now than ever. The only difference, in my opinion, is the standard of popular music (ie music on tv and radio) has plummetted over time. The 'talentless wonders of today' are only really wonders of radio and tv. Radio and TV might have been the main source of music for people pre early 90s, but in my mind it's a terrible terrible oversight to only discover music through them nowadays. Just listen to the radio for a whole day, and hear 8 different DJ's (supposedly different people with different tastes) all of them playing the same 15 or so songs again and again and again. It's a business. But it's really not a reflection of the quality of music around today. Just the quality of what is considered best for radio/tv consumption. It seems to me there are more truly stunning players around at increasingly young ages than there ever has been. There's also far more terrible players around. There's just far more music around now, whereas in the 80s and earlier, they'd be fewer, but bigger more established artists. Quality not quantity. And I think people were more fanatical about one or two artists. It seems now, with the glut of NME bands, the turnover is a lot lot quicker, so the quality suffers - the music press push the 'guilt' of not keeping up with whatever new band is this months feature. Who are no doubt exactly the same as last months 'in' thing (though they might have different haircuts). It's a great business model - sell people the same thing, just repackaged, again and again, month after month. The motivating factor for the buyers is they don't want to seem uncool by being out of date. Anyhow, for me, finding good new music is an active pursuit. There's no 'hoping' it will turn up in daily life via radio/tv/magazines. The internet is fantastic. There's no need for a reviewer/magazine/dj/presenter to try and tell you what's good and bad through a description in words. The answer to "What do they sound like?" should pretty much be the band's url, followed by clicking 'Play'. imho, music itself is in a pretty fantastic state today - the music industry though, is a whole different dire matter. (Sorry for the off topic rant!)

I play through studio monitors also. I'm haven't decided if this is good or bad, though its definitely preferable to playing unplugged. On the one hand, there is no relying on an amp to even out the tone and 'help' with consistant loudness between notes. Obviously this means paying attention to playing evenly, which is no bad thing as it improves technique and control of dynamics. On the other hand, I'm not sure if I'm over compensating for issues that simply don't exist (or are smaller issues) with bass amps. I don't own an amp, and just use whatever is available at gigs - I normally have the bass DI'd also, so the amp is more of a stage monitor than anything. Seeing as a lot of tracks have been made with bass going direct to the desk, there must be some validity to it. I suppose I really need to get an amp.