BigRedX

But species alone doesn't completely define wood density, it's also dependent on the climactic conditions where the tree was growing and to a certain degree what has happened to the wood after the tree was cut down. On top of that very few solid electric instruments are made out of a single piece of wood for the body or neck so therefore construction methods are also massively important. In the same way that the sound of a speaker cab is dependant on not only the technical specifications of the driver(s) housed in it but also, the size, rigidity and porting. In both cases trying to assign a sonic characteristic to a single attribute is foolish and pointless.

Not everything I have released over the past 45 years has made it onto Spotify, but here are the bands that have: SugarBox: Dick Venom & The Terrortones: In Isolation: Hurtsfall:

Most of the time the second cab only takes up additional vertical space. It also has the advantage of raising the upper cab closer to your ears where it is doing some good for being heard rather than your knees.

Every band I've been in for the last 15+ years we send the singer off to do promotional and fan duties while the rest of the band clears the stage and packs up including any equipment the singer might have. I see both audience engagement and good stage manners as being equally important, so I'm happy to clear and pack a bit of extra equipment if I know that at the same time someone from the band is keeping the punters happy and maybe even getting us more gigs as a result.

Also depends on the position of the listener or measuring point, hence my original post.

It's got little to do with the porting and everything to do with the position of the cab and you within the room. You don't need to move the cab, you'll get a different sound simply by standing in a different location in the hall.

My experience of festivals is that there is either a supplied (good) backline that you are required to use as a condition of playing, or that everything is on movable platforms that can be wheeled off to a backstage area for setting up and packing down. I think the sorts of gigs people are talking about here are those in sub 500 capacity venues where there is often no backstage area and the green room is already full of all the other bands and their kit. My attitude at these gigs is, the moment we have finished playing, to get our gear off stage as quickly as possible, find a quiet corner and then pack it down. However, some musicians still don't appear to have got the message and can take up the whole 15 minutes on stage packing their guitars and pedals away whilst chatting with their fans.

Why do we still think that the size of the driver cone is the most important factor in describing a cab? Every cab will sound different, I've owned cabs with the same driver configuration but completely different sounds. Not surprising when you consider that just about everything else to do with the cab - size, construction, driver specifications other than the cone diameters - was completely different. If I was still using backline the diameter of the driver would be the least important factor in choosing a cab.

Some of the synth modules in the Helix will do this.

That looks brilliant! Good luck!

Whatever method you use, you'll need to clear coat over the top to prevent the "binding" from wearing off.

If the band is tuning that low the guitarists will already have most of the bass frequencies covered. Got some bass pedals for some additional bottom end and then unleash your inner Peter Hook on the bass guitar!

Here you go: I Believe In Father Christmas by In Isolation: We also got Matt Pop to do a banging dance mix: Both are available on Spotify: My current band have also released an original Christmas song called December Snow: Which is also on Spotify:

As everyone probably knows by now I use a Bass VI into a Line6 Helix playing alternating "guitar" and "bass" parts; My current standard patch always includes the following: Deluxe Comp (Compressor) Obsidian 7000 (EQ and Distortion) 70s Chorus (Chorus) Elephant Man (Delay) I also use these regularly but not on every song: Courtesan Flange (Flanger) Jazz Rivet 120 (Roland Jazz Chorus Combo model used as an alternative EQ for guitar parts) Teemah! (used as an alternative Distortion for guitar parts) Simple Pitch (Pitch shifter mostly 1 octave down to thicken up the higher bass parts or produce a bass line behind a guitar part) Searchlights (Reverb) Tremelo (Tremelo) I have a different Preset for each song with all the settings adjusted to fit my sound into the mix of other instruments and then up to 5 Snapshots in each song to change the song as required.

According to our singer who created the video, it uses the following: Kling (including lip synch), Vidu, Hailuo and Genmo; Voice for the vocal stripping, AI Face Swap for character consistency. The main character uses the face of one of our fans IIRC. The video was made a year ago so the abilities of the various AI video applications will have moved on since then, and these may not be the best options any more. The resulting clips were edited together in the full version DaVinci Resolve. It took a long time to create, much of it was spent learning how to get the best out of the text prompts, and from what I recall very little of the footage generated at the beginning of the process made it through to the final edit. Also had the time been available he could have spent another month or so fine tuning the edits and getting rid of glitches like the additional fingers, but it had to be finished to coincide with the release of the EP which includes this song.