Dad3353

It looks like a reasonable solution to your issue, and won't cost a fortune to try out, at least. As long as you can live with an umbilical cord, it looks to be sound. Not yet available, I see, so some patience, unless there are other, similar product already in use..? Please update with your decision and experience, either with this or any other product..?

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

The 'Report' option still works; I use it often enough. Just sayin'.

Fixed.

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

Good afternoon, Charwood81, and ... Plenty to read and amuse you here, and lots to learn and share. Sorry to hear of your loss.

6-string fretless straight into Hiwatt DR205, all eq at 12h00, into HH 2x15 cab. Clip-on tuner, as being in tune is more important than having a good tone (which we have, in spades...). Oh, and a decent pair of ears, too, but that goes without saying, I suppose.

A 2 ' square of 1" thick ply with biggish castors in the corners. A slot near one edge for picking it up.

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

Looks clear enough to me. They want a bass player to add bass parts to their compositions. (... and I've seen stranger combinations of taste. For myself, I'd cite Sibelius, Joe Morello and Grateful Dead, for instance, plus a dozen more ...)

Only three..? You've been short-changed there, I'd say.

From the Wiki on the bloke... Franz Simandl (August 1, 1840 – December 15, 1912) was a double-bassist and pedagogue most remembered for his book New Method for the Double Bass, known as the Simandl book, which is to this day used as a standard study of double bass technique and hand positions.[1] His approach uses the first, second, and fourth fingers of the left hand (the third and fourth operating together as one digit) for stopping the strings in the lower register of the instrument and divides the fingerboard into various positions. ...

Yes, that's how I play football. ... I don't often get picked to join a team, though.

Worth thumbing through; Good Stuff ...

Good Stuff, thanks. Who was it who said 'Less is more'..? No-one told JC that, thank goodness..!

OK, I'll bow to all that, in such a context. I've no issue with a 'pro' studio set-up; the 'diminishing returns' make it largely impracticable for Humans, though, especially in a domestic environment. I'm much more deaf than any of that, anyway, at my age, so...

True, and excellent. I posted the playlist for the whole album, so that'd follow 'Clergy', then 'Somebody To Love', Fat Angel' etc... Great Stuff, however one accesses it, though.

I took it to read as a lack of linearity rather than dead silence under the 40Hz threshold. It's audible (on good systems...), but does it have to be that flat, was my concern. Any dross will be heard, but slightly attenuated. Is there that much going on that it needs to be linear down to 20Hz (or lower...)..? If the stuff down there is that bad it'll be heard, won't it..?

Is there really that much 'going on' below 40Hz that needs such 'flatness'..?

It's not going to get any better, so ... Here is my contribution to the April 2018 Basschat Composition Challenge, inspired by a picture chosen by last month's joint winner: Bilbo. Vst Kontakt instruments, mostly from the Kontakt Factory library, but also a Cheese Machine, a touch of West Africa and Strike drums. Assembled with Reaper, with my usual minimal treatment, mastered with an AAMS, 'World music' preset. Thanks for listening, if you already have; if you're about to, enjoy.

Yeah, just like everyone, but why 'weird'..? ...

That's easily rectified ... Enjoy (let the first 'Clergy' intro run, then turn the wick up...) ...

Thanks for posting that. It is often not a good idea to look in on one's heroes, for fear of deception. No problem here, though; JC comes across well. He must have a shed-full of stories to tell, on top of being a top-notch musician. Good Stuff.