ambient

Just angle it upwards. There were some EBS cabs a few years ago that had handles that doubled as a means of tilting them. I use the power supply for my PJB Double4 to angle it upwards.

Phil was taught by Jeff, and now teaches at Jeff's players school, his book is probably the closest thing you'll find to Jeff's.

I use flats on my 6 string Modulus, my choice of string is Thomastik. They were on special offer at DV247 a few months ago. I aim for a cello type sound, but can also get a convincing jazz guitar sound.

[quote name='Wan' timestamp='1443012493' post='2871429'] Hi, Does anybody know where I can get a copy of this book or download it,, It's by Jeff Berlin.. [/quote] Phil Mann bought out a similar book.

[quote name='BigRedX' timestamp='1443103388' post='2872239'] I personally won't use any software that requires iLok. I don't regard it as a professional system. Since the course is about composition rather than production I find it strange that ProTools is the required software, since despite all the refinements over the years it is still basically a recording and production tool rather than a creative composition tool. BTW what's to stop you working in Logic and then transferring the audio and MIDI files into ProTools for assessment using something like OMF? [/quote] To be honest, that's what I thought was odd when they said. I haven't really looked into transferring files from one DAW to another. That'd be a lit easier, I'm really happy with logic. They have protools in the studios and workshops there that we're encouraged to use, so it'd be great if its easily doable.

[quote name='BigRedX' timestamp='1443101491' post='2872222'] Have the college said what they will do if you are unable to hand in work due to problems with the iLok protection system? There have been at least 2 major issues with iLok in the last few years that left users without access to their software for several weeks in some cases. [/quote] No, I'd hope they'd understand if there was a genuine reason. For some reason, I don't actually like Avid. I know people don't like Apple, but they're pretty good for students and education. And Logic Pro is an absolute bargain.

[quote name='paul_5' timestamp='1443088290' post='2872051'] Why do you need PT? Unless your Masters is Protools specific then I reckon you're better off concentrating on the study part of the qualification, instead of having to learn a new DAW at the same time. Just my 2p [/quote] It's a composition course, all the assessments are by handing in portfolios of work for the modules. They said on Tuesday that it's protools. If it's like my bmus then you have to hand in scores, a mix and the original files, I guess the files are so they can see it's an original work. What attracted me to the subscription was the ability to pay in small amounts. I'm maybe now veering towards the student package.

Does anyone use this ? I'm starting my MMus next week. At the enrolment yesterday I discovered that they use ProTools, rather than Logic Pro which I've been using for the last 5 years, and used throughout my BMus. So, I'm going to have to purchase ProTools, which is a lot more money than Logic Pro cost me. Looking on the Avid website, there seems to be a few options. One is to buy the student version, another is the subscription version that they do. The subscription looks cool, but what happens if you stop subscribing ? The price is in dollars, what do you pay in pounds, does it vary according to the exchange rate ? You have to use an iLok key, my macbook only has 2 usb ports though, so will the iLok thing work in a usb hub ? What iLok do you use ?

Loopers are amazing things. So many buy them and then just use them in predictable ways though.

£20 for a year, or £7 per advert.

The other day I was talking to a sax player that I'm playing with. I asked him if he'd heard of Jan Gabarek, he said he'd heard of him, but had not heard anything by him, he didn't listen to music. That just struck me as odd. I'm always listening to music. Is it odd though ?

[quote name='biro' timestamp='1437924495' post='2830031'] I have owned two graphite-necked instruments, a Status S-1, which was green and gorgeous and I bought on BC, and a Peavey GV bass. Both were exceptional instruments, the Status perhaps more so, but in the end I parted with them with few regrets. On stability: yes, the Status wouldn't move. The Peavey, which was Modulus-necked, on the other hand, would move a fair bit. Nothing to be worried about, mind you, but it did, the only reason I can think of being the fact that it featured a beautiful pau ferro fingerboard, which was thick, dense and altogether perfectly capable of moving a graphite neck whenever it felt like it. Now, the Peavey was a wonderful instrument ([url="https://www.youtube.com/watch?v=otQ046y39RY"]exhibit one[/url]), but wasn't exceptionally graphite-y, if you get what I mean. The Status, on the other hand, sounded less woody, and, in a way, better ([url="http://www.gospel.bo.it/albums/userpics/10192/Martina_%2B_Status_-_MSTR.mp3"]exhibit two[/url]). I am also going to be an apostate and say something weird: I am a strong believer in the fact that a synthetic fingerboard does a good deal of different. Phenolic stuff or ebonol do make a significant different in sound, very much in the direction of a synthetic neck. [/quote] I would totally agree with you. I have a Modulus Q6 with a phenolic fretboard, it sounds totally different to Steve Lawsons which has a a Chechen fretboard, his is a lot mellower sounding.

I didn't realise there were countries other than us played the game 😊 sorry to any ardent rugby fans.

What's RWC ?

I would try and reply, sometimes I mean to and forget though, but I get sidetracked easily. I don't trust the message read thing. I know for a fact that a couple of times it's been wrong. Messages have shown as been read when they haven't been. That's maybe the problem with not being able to reply directly to a wanted advert, it'd be nice to be able to say "PM sent" on an advert. I don't get emails either for messages.

[quote name='Iain' timestamp='1442185891' post='2865049'] I've got two Mono straps - a long that's always on it's shortest setting and a short that's always on it's longest setting... I couldn't remember what size I'd got originally so got the short assuming the one I had was a medium. Anyway... On the shortest setting the short brings my Dingwall so the upper horn is around nipple height, on it's longest the bass sits on my hip - my preferred position. I'm 6' so I can see that a shorter player who wants the bass under their chin might find them long! They are the most comfortable straps I've used. Must get a medium next time... [/quote] I'm 6ft, but I find even the short Mono puts the bass down past my waist. With the added neck width of a 6 string bass, you end up putting a lot of stress on your fretting hand.

Is it possible to sit down for your gigs, and not use a strap ? I way prefer sitting down on gigs, but most of my gigs are jazz, so sitting down is acceptable. I went and splashed out on a really nice stool a few weeks ago, so I'm sitting, but it's actually more 'propped', because it's set quite high up, and I don't use a strap. I've got one of these, not cheap, but for me it's brilliant. [attachment=200680:71Vr8kuk1ZL._SL1500_.jpg] For straps you maybe want something that doesn't contort and sink into the muscle between your shoulder bones and your neck. I've used a comfort strap, and found that these really sink into this area, restricting the blood supply to your arm. A wide, padded leather strap, or a Mono (if they're not too long for you), is best.

I've mentioned this a couple of times recently, but try the Alexander technique, have a look on their website for a local teacher.

I have one of his tiny combos, it's a pretty amazing amp. I saw the new head on Facebook the other day, it does look interesting, I'll be in the market for a larger amp in a few weeks or so for a function band that I've joined. I was thinking of one of his bigger combos, but maybe a head and one of his cabs instead ?