Owen

As I have mentioned somewhere else on here, you will find that most players have at least some reference points in the grain of the neck. However, you will also find that people who are playing classical professionally have YEARS of muscle memory to rely on.

Thanks. I am looking for active boxes. My 1982 B&W DM110i + Mission Cyrus 1 amp have been doing sterling service, but it is time for an upgrade.

Awkward!!!!

You are, of course, correct.

I would love a pair of ATCs. That is not going to happen. I am a tragic fantasist embarking on his very own vanity project. I am looking at a pair of Yamaha NS8 as my monitors. I have borrowed a pair and they are in situ. I am struggling to think of a reason not to go with them. I am running Sonor Works which can deal with the less than epic placement. Does the £500ish have anything else that I REALLY should be considering as well? I am not hugely into buying 2nd hand for speakers like this, unless someone I know and trust is cutting me an extraordinary deal on a pair of ATC SCM20A boxes. TIA

Sean Hurley. Sorry Sean.

I hate (operating) compressors. I bought a TC Spectracomp. I tried all the programmed settings I found one I liked. I never have to think about compressors now. When it comes to playing with fingers, the accepted way is to use two fingers. This is great. However, 1 finger was actually good enough for JJ and he seemed to get around just fine. I watched a vid of that guy who had a signature P bass who is a hotshot US session bod (sorry, I cannot remember his name) who was playing with one finger and it does give a subtly different timing/groove.

I am following this with interest.

I did a choir gig recently. Two keys players, one kit and me on bass. The conductor wanted the pianist to just play a rhythmic pattern above middle C. The kit/bass section were laying down a solid groove. She tried 3 times, but was still playing something an octave + below middle C to give her something to syncopate against. The conductor said 3 times "no, just the rhythmic thing". Eventually, I put my bass down, walked over and told her to play it again. I held her left hand and lifted it away from the keyboard and the magic happened. To make it EVEN sweeter, I have been waiting 42 years to do this with this specific player. Keyboard players are clueless. Ones who actually understand a band dynamic/make up are like gold dust.

There is no denying that they are spacehogs.

Thanks. I have reached the stage in life when I have realised it is better to actualy get the facts rather than guess. I now have the facts.

I am all for this inside info. But who are they?

My experience is not exhaustive. But I had an NS which was beautiful. But it sounded a bit fretless-y with original NS strings. I loaded it up with proper DB strings, raised the action and, voila, there was the DB-alike tone.