NancyJohnson

Loads!

Not certain whether this will play direct off here*, but this is what I've been involved with. It's a bit quirky and odd. Mike Lull 5-string recorded direct with a bit of BOD VST to shizzle it up. [*Edit: clearly not. Just click it and play it in your favoured player.] Counting_Sheep_Mix2.mp3

The Complete Flanders & Swann.

The singer has been posting stuff up before it's actually 100% finished...aargh...keen I suppose. His Soundcloud is here:

If this counts... I've done about 20 tracks with Lizard Sweets since April. Guitarist/producer lives about ten miles away, singer is 100+ miles away on the south coast. Once we resolved the technical issues it got very productive and every new song seems better than the last. All this material should be up on Spotify etc. shortly. The singer is posting up odds and sods on Facebook which are easy enough to find if you want a taster.

I might give Shotcut a punt...

I downloaded Davinci a couple of days ago, nothing to do with this thread, the other guys wanted to do a video and I offered to have a punt at editing. Ahead of the the project itself, I just pulled in some short videos shot on a variety of phones and cameras. I'm struggling to actually keep the program open! It crashes constantly.

My current projects are wholly recording ones...I record two streams, one clean, one dirty (off a dUg). The dirty is just a reference for me alone; it helps with knowing how long to hold a note and what I can get away with when my playing is a bit sloppy. When the stems go over to the studio, the producer always uses the clean recordings and adds everything in post. He favours either the BOD plugin (essentially a digital Sansamp BDDI and it's free) or Amplitube SVX. Initially I'd have preferred to record with the dirt, but to be honest clean is better.

I remember years ago (in my teens) some mates of mine were gigging in some village hall and as was our want a group of us decided it might be fun to custard pie them at the end of their last song. The bass player was using one of these Guilds...it sounded amazing. So the last song in, a few of us pile in, flinging the flans, everyone is laughing. Set ends. A few minutes later, I get a tap on my shoulder. Angry dad of bass player asking whether I was the ringleader of the prank as 'there's shaving foam on my boy's guitar and it's ruined'. I'm like, 'Whaaaaat?' I saw the bass a few years back. It still looked very clean 35 years later. Ruined, my donkey. These are so solid they would probably survive a nuke.

Although I'd identify as a bit of a whore for Tech 21 kit, I'm presently down to a single unit (the dUg) and admit that I do still feel somewhat let down by their aftercare following the failure of the rack GED-2112. Due to inactivity caused by the virus, I've been playing less, but the newish DI-2112 has picqued my interest, but at £400 I'm unsure whether I can justify pulling the trigger on this, given the dUg does everything I want, given I previously described this unit as being like the GED on steroids. Anyone bought one?

This is a great graphic (although I'm not entirely certain whether bass refers to electric bass guitars, or orchestral uprights). Years ago I gigged at a place where the sound guy was saying we needed to 'own our frequency'; our guitarist favoured a very deep and boomy tone and by way of compansation, I tended to roll off the bass a bit and play with a bit more top. Sound guy was mooning around our kit and pre-stage time, rolled off some of the bass on the guitar and turned it up on mine and the sound came alive.

A word (which I believe I termed) was Ponk/Ponky. It was just a generalisation for this tone from the 60s...you have loads of guys creaming themselves over vintage basses/amps, but tonally there's little by way of dynamic range on a lot of those recordings. Listen to some of those old Motown/Jackson 5 isolated recordings. Jazz bass/dead flats/foam under the strings. Just tuned thumping. Ponk.

Blimey, that's probably more than Bass Direct! Harhaaaaaar!

Yep, that's me! Fine Impact, BTW. I'm assuming the recent fire sale was to finance this?

My old Sennheisers stopped working today, wife has offered to get me a new pair of headphones for Christmas. Just need some recommendations, there's too much choice. They have to be wired, preferably enclosing the ears, nothing mental pricewise...up to £50 would do (I think my old pair were under £25) . Erring on the side of caution, I'd prefer to avoid any fashion branded product (Beats/JL Lab).

I was sacked from Last Three Standing because I didn't find the continual pink torpedo jokes just hilarious. I rejoined them for a gig, then left of my own accord.

I bought a Travis Bean TB2000 bass in the early 80s, #222. It had an issue with the fingerboard wood lifting off the aluminium neck, so I had an ebony board put on, but for some reason it suffered deadspots in the F#/G/G# position on the E-string. I kind of fell out of love with it and traded it in at ABC Music in Addlestone, Surrey. Amazingly, it cropped up on the Travis Bean resource a few years back. After I traded it, it didn't stray very far from Addlestone and is now in the hands of a chap called Julian who lives in Oxford (he bought it on eBay). He offered to let me use it at a gig I was doing at the Bullingdon.

It looks like something a kid would knock up as a woodworking project at school.

I'm listening to the 4 CDs of Super Deluxe now. It's rather splendid (I'm also a bit sloshed). Thing that always astounds me is that all this additional material has been out there, albeit unreleased, for decades. It sounds wonderful.

...Oooh...and as if by magic, the doorbell rang...

Tears For Fears. I'm waiting for the super-deluxe of Seeds of Love to arrive, so while I wait, I'm just doing the super-deluxes of the first two.