ambient

I'm a little surprised that because something 'looks' the same on the outside, then it's assumed to be the same on the inside.

Punctuation ? I'd be inclined to get a .co.uk domain. I pay £8 a year for mine. It looks like you're abroad or something. I quite like the black and white photos, they probably suit the music ? i don't like the bit at the bottom that tells everyone that your website was created free with Wix.

He also played on Michael Jackson's Earth song.

I don't understand all the faff with going from 4 to 5, to 6, to 4 to 5, to 4. A 6 does everything, (and more) a 5 can do, which does everything (and yet some), that a 4 can do.

[quote name='Cato' timestamp='1444995507' post='2887962'] I've seen a few Kaos Pad guitar demos along with some Matt Bellamy stuff and it seems a bit of a one trick pony. I can't really imagine how you'd use that trick on a bass unless you're in Royal Blood or some other band which required the bass to make brief bursts of unusual noises. [/quote] Check out some of my later Soundcloud stuff. I've used one quite a lot. Steve Lawson uses one quite a bit too. Certainly not a one trick pony. I guess it's down to what you play ?

[url="https://soundcloud.com/an-ending-ascend/31102015c-1"]https://soundcloud.com/an-ending-ascend/31102015c-1[/url] A slightly different direction for me.

Can anyone recommend a stand or support for a small, 2 octave M-Audio Oxygen keyboard ? I'm guessing that normal keyboard stands would end up being too tall by the time they were folded in enough to accommodate one.

Email PJB. They seem very proud of the products, and seem to be very customer focused. Phil is friends with me on Facebook, maybe send him a message in there ? But I'd just try emailing them first.

[quote name='chris_b' timestamp='1445939932' post='2895500'] A better bass that wouldn't break the bank? IMO a Lakland 55-01 would fit the bill. It's a big bass but very easy to play. The neck and B strings are every bit as good as the USA models. [/quote] Only a 5 string though, I think the OP wants a 6 string.

What strings are on it ? If you want a better bass, I'd maybe look for a used Yamaha John Myung model. It seems that you like him judging by the song that you mention practicing . They can be bought for silly money really.

Very nice, very Steve Lawson'ish. Keep on doing it.

[quote name='Nicko' timestamp='1445864922' post='2894789'] Because I dislike it so much I haven't learnt it properly - that would involve listening to it - but no one seemed to notice I was freestyling the passing notes. [/quote] Can't say I blame you being reluctant to listen to it .

[quote name='Beedster' timestamp='1445890959' post='2895147'] Looks to me like it could be extremely useful for DB players also, I often have to walk a fine line between being able to hear myself on stage and creating howling feedback. The classic monitor configuration pushing sound directly into the instrument doesn't help a whole lot. OK, there are various methods to defeat this, but not all are entirely satisfactory, and it looks like this could be quite a nice halfway house between conventional monitoring and IEM? The great thing about PJB is the quality of the sound, so if this is effective as a monitor and as pleasing on the ear as al other PJB gear, I'll probably be in the queue when they land. [/quote] That's something that occurred to me earlier, maybe also pit work where you're not using headphones ? There's a guy I played with a couple of years ago, he had a small monitor angled towards him about chest height for his guitar.

[quote name='Chrismanbass' timestamp='1445885524' post='2895078'] maybe i just haven't drunk the cool-aid ....... but i don't buy a bass amp that sounds good when I put it in a particular position at a particular angle, oh and it must be in a corner otherwise it won't work I'd quite like my amp to sound good wherever i decide to put it down...... and it does. but i think you'll find i said put it closer to your ears not right next to them however if i have my amp right next to my head and its too loud thats okay because it has a volume knob on it too I guess my point is I don't really know what you gain by having this funny little box on a mic stand next to your head as opposed to other methods of hearing yourself [/quote] It works best in a corner, no mention in my post of it only working there 😊. Great that you can have any amp. I don't drive and play a lot around London. My combo is the size of a shoe box and easily holds its own in a band with a drummer. Yet it's easily transportable on trains, tubes and buses. I just think you've maybe missed the point of the monitor.

[quote name='Chrismanbass' timestamp='1445858193' post='2894708'] looks to me like someone trying to re invent the wheel...... can't hear your cab maybe move it closer to your ears? [/quote] Who would want a 100 watt bass amp that close to their ears ? I think it's designed more for users of other PJB gear. I use a Double 4 combo, that's pretty amazing, and not just for its size. I used it yesterday lunchtime for a jazz gig at a pub in Worcestershire. The drummer who I hadn't played with before, looked more than slightly bemused when I took it out of it's little gig bag. After the first set though he openly admitted that he loved it, and the sound that it produced. It does depend a lot though, on where it's placed, it's quite directional. It likes to be on the floor, angled upwards slightly, and towards the audience. I rest it on its power supply, that gives it the perfect upwards angle. I also likes to be in a corner, it has slots in the back designed to radiate the sound. So I can see the new PJB monitor being useful if the player is not directly in front of the combo.

I love everything by PJB that I've tried.

[quote name='alyctes' timestamp='1445727004' post='2893783'] Not my usual listening, but I liked it. [/quote] Thank you .

So just watched the first video, and made a few notes about it. Very interesting, I'm starting to see the possibilities of it. Thanks again

To my usual offerings anyway. [url="https://soundcloud.com/an-ending-ascend/21102015a-2"]https://soundcloud.com/an-ending-ascend/21102015a-2[/url]

Looks like rather a neat idea . [url="http://www.facebook.com/PhilJonesPureSound/videos/vb.1839281189/10203599356304693/?type=2&theater&notif_t=notify_me"]http://www.facebook.com/PhilJonesPureSound/videos/vb.1839281189/10203599356304693/?type=2&theater&notif_t=notify_me[/url]

Have to agree totally .

[quote name='Graham' timestamp='1445617050' post='2892887'] I have a suspicion it's partly down to both guitarists and bassists no knowing how to make their sound fit into a live mix, there are enough players who's live amp settings are exactly the same as their in isolation, practice settings, because that's "their sound". This is often a mid-scooped, bass biased sound, which in a live mix sounds muddy and incoherent. Standing next to their amp, they can hear the sound they're used to, but can't hear themselves, so the only option is to turn up louder and use brute force to be heard. [/quote] This would be their dialed in 'Marcus Miller' tone.

[quote name='TimR' timestamp='1445537357' post='2892291'] So that the audience can't talk. Keep up! [/quote]

[quote name='Mykesbass' timestamp='1445536822' post='2892284'] But why? (not why you thought they did, but why they do like it loud)? [/quote] I find it baffling . Why would you want to play at such a volume, that you need hearing protection, which then makes it quieter anyway .

[quote name='Phil Starr' timestamp='1445497677' post='2891840'] Well the OP did start off saying about the drums being miked up, so this is a band that wants to be louder than a drumkit allows, without that you are pretty much stuck at playing at the drummer's level. I feel sorry for drummers, even if you find the fabled drummer who can play quiet I'd still want to use the whole dynamic range of my kit. I'd find it tough if someone told me I could only play bass gently. You could have louder and quieter kits but who has the space to store multiple kits never mind the expense, though I suspect drummers have GAS too. No sympathy for the over loud guitarist though. The rot was there from the start. When I ran sound for bands in the early 70's you struggled to be heard with PA limited to a pair of WEM columns. Instrument amps had to reach the back of the room unaided so the Marshall full stack was born. Singers sang in their higher range just to cut through, a lot of rock norms/cliches were born of necessity. Now gear is cheap and the easy (lazy?) way of playing classic rock is to just copy the gear from your heroes, who would have killed to be able to use the equipment we have now. GAS is a problem too, most bands are amateurs whose hobby it is. Buying the best gear you can afford and lots of it is part of the fun, once you have it you've got to give it a run out haven't you. Even I had a lot of fun at one gig where my drummer shouted at me to turn up and I did. Spent the first half not needing to pick and damping the strings which were singing with feedback, and oh the tone Very gratifying to have said drummist saying he couldn't hear his own snare drum. He hasn't asked me to turn up since strangely. But you can't sound your best at the volumes a lot of pub bands play at and I'm with the people who say you should be playing for the audiences not yourselves, especially if someone is paying you to play. There are lots of good technical reasons why keeping sound levels down is better and really there is no excuse. [/quote] I haven't mentioned mic'ing drums, agree with you that music does sound better when the volume is lower. You have more control over everything. Why do people mic drums in pubs though ? I think you're correct re the gas thing. You can buy stupidly powerful rigs now for silly money. The bass player from the one jazz band I dep for wheels in a 4x10 cab at each gig. Bear in mind that most of the band's gigs are in small pubs on Sunday afternoons. I use possibly the smallest combo on the planet 😁.