Dad3353

The recommended pop screen is Beyer PS260, but I don't think it'll help much in your case. The real saver would be distance; this mic is easily overloaded, and handles rather badly high pressure levels. At a decent distance (more than 1 metre..?) I see no issues at 'normal' recording volumes, but I certainly wouldn't choose it for proximity micing. Loud bass, too close, will destroy it, at worst (likely..!), and sound bad (distortion...) at best. It's better suited to ambient recording of cellos, bowed double basses etc. Why would you want to use a ribbon mic specifically..? Is it just because it's on hand..? There are better mics for bass cabs, and better suited ribbon mics, too, but any ribbon mic will suffer from close-micing a bass cab except at very low, 'cabaret' levels. Out of the question for rock stuff, I'd say. Hope this helps; subject to completion, correction and/or contradiction from others.

'... amount of concerts that used to be available', no..? I don't think that there'll be much concert activity for a while yet, unfortunately. Our Daughter is a nurse in Paris; she sings in a choir, and their concerts have been suspended until next year, and no rehearsals in view. All this will pass, of course, and quickly, we hope. I'm retired now, living in a rather remote spot of Lower Normandy, so am not badly affected, but it's a strain on all sectors of society, not least musicians and technicians. Strange Days.

Good afternoon, Phnod, and ... Plenty to read and amuse you here, and lots to learn and share. France, eh..? It's a big place; in which corner of the Hexagon are you..?

Good evening, Ilyes, and ... Plenty to read and amuse you here, and lots to learn and share.

Good evening, JBB, and ... Plenty to read and amuse you here, and lots to learn and share.

Good evening, Pablo, and ... Plenty to read and amuse you here, and lots to learn and share.

S'not buffered..!

Mostly Kontakt VST's, I've used these with success ... Shreddage are good, although not what I'd call 'intuitive'.Some experimentation is required to get the best from 'em. Evolution Electric Guitar, Strawberry are worthy, too; maybe a bit simpler to work with. They sound 'right'. The Ilya Efimoff range are excellent, electric, acoustic, nylon and bass. It can become expensive, of course..! Pettinghouse are worth a look, as is Session Guitarist As independent VST's, the Amplesound range are excellent, with a more 'keys friendly' interface and a wide range of expression. For Sax, have a listen to the Embertone Sensual Sax; it's quite expressive; a useful timbre, and very 'playable'. Mostly, though, for sax, I use samples, and mess around with them until I get it to 'fit' (or not..!) Hope this helps. Of course, non of this matters if a fuzz-wah flanger octaver is to be slathered over the lot..! ...

Good morning, Xiaoma, and ... Plenty to read and amuse you here, and lots to learn and share.

Well, I tried zapping through it; couldn't find anything at all to hold me in. Very much not my 'cup of tea', I'm afraid. To each his/her own, of course.

Good evening, Jef, and ... Plenty to read and amuse you here, and lots to learn and share.

No more than 90°, or it becomes obtuse. An error that I commonly make, unfortunately.

Good evening, Nerstaff , and ... Plenty to read and amuse you here, and lots to learn and share.

Quite the opposite; don't practise for six hours a day..! The quickest way is to take it steady. Do a decent stint, then leave it (or practise something else...), then come back to it after a break. Make each session a little longer each week and you'll be up to speed in no time. The fastest way is to do it slowly, in increments. You might try trawling t'web to obtain a big bucket of Patience; that's the key ingredient here. Good luck with it (and there's nowt wrong with chords, or even {gasp..! } music..! being played on a bass..! Yes, even a sixer..! )

A slightly flattering description of me, too..!

Good afternoon, ET, and ... Plenty to read and amuse you here, and lots to learn and share.

Here is my contribution to the May 2020 Basschat Composition Challenge, inspired by a picture chosen by the previous winner: BobBass4K..! An ambient track this time, composition inspired by the thought of the fractal nature of the branches and twigs in the photo. A slow build-up, using fractally-generated themes, intertwining in apparently hapless fashion, but all interlinked, combining natural earthiness with algorithmic rigor. Somewhat hypnotic; it kept me up until the early hours refining it. Was it worth it..? Hmm... All instruments are Kontakt (Contra-bassoon, horns, Emotional Piano, archtop guitar, percussion...), excepting the Superior 3 drums (a first, for me...). Very little Fx or mastering 'pixie dust', as the quality of the instruments speak for themselves, I think. Thanks for listening, if you already have; if you're about to, enjoy.

Good evening, Matt, and ... Plenty to read and amuse you here, and lots to learn and share.

As all decent bass players know, 'Watts' are a pretty meaningless measure of much, anyway.

I think that those are 'slo-mo' photos of Entwistle's 'flicking' technique, rather like a flamenco 'rasqueado', where each curled-up finger rolls open, striking the strings as they go. Very percussive, and needing extremely low action.