Owen

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.

If you use super glue you can spend happy hours picking it off afterwards!

I am afraid that I have not read the complete thread, so forgive me if I am repeating what someone else has said. For me, an expensive bass is one where the difference between what I paid for it and what I sell it for is painfully negative. Brand new G&L and US Music Man Sub (stripped, painted and fully installed with Bongo electrics), I am looking at you. Given the BC long term loan, sell it for what you paid for it scheme, most basses are kind of cost neutral in my way of measuring expensive.

I am a bass tart and will go with any bass. This is why I have more than I need. Every bass I pick up makes me think "ooh, this is nice, we could be happy". Absolutely tragic.

When I blister, I put a couple of drops of superglue (liquid, not gel) on a piece of paper, rub the blister and the areas around it in it and carry on playing. I am not joking.

That was yesterday, right?

GOOD TIMES!!!!!!!!!!!!!

The way the grain has played out on that tummy cut is very pleasing.

I like it!

People shouting, rolling their eyes, making big eyes, fast edits, waving their arms, faux indignation etc on YT. The joy is that there is much better content on there so no one has to watch shouty people.

She is certainly two footing it a lot of the time. I have been the victim of this when the local Hammond bod was playing faster lines with his feet than I was with my hands. Not that that is a major achievement really. Anyway, at 1:15 she is working that swell (vol? what was I thinking?) pedal.

OK organ fans. I play organ, very, very slowly and then bring the speed back up in Logic on my tracks, which the world is not ready for. I went to watch Delvon Lamarr in the interest of research (and grooviness) and was amazed at how "messy" (for the want of a better word, and looking at it through piano playing eyes) his technique was. Of course, it was superb and worked flawlessly for what he was doing. I stress again that I was looking through the eyes of a very poor pianist. So I adopted this into my Hammond playing and it worked. Barbara seems to be pumping the vol pedal rhythmically. This is a Hammond thing?