Leonard Smalls

Being a Bauhaus fan, I used to use exclusively Maxell UDXL2. Not that advertising ever worked on me!

Lawks - I was in despatch there, (Woodstock Gr), then I worked in Brian Hall's office for a year before xfer...

Funnily enough, I was in film despatch in the 80s, from about 87-89... Moved into sound transfer after that. And TOTP night was usually quite entertaining; I was at Borehamwood for the last few years of it when it moved there. I remember being mobbed by a group of young girls on the way out on my mosickle; they made me lift my tinted visor top check I wasn't anybody famous, then they went onto the next victim. Once, Bon Jovi came to play, and insisted on sole use of the BBC canteen and bar over lunch time. 500 staff had to make their way to the very few eateries on the high street - it was chaos. But then I always though Jon BJ was a prize donkey!

I use 3 compressors at the moment... One's in the pre-amp signal - just enough to make every note snappy, then one in the send to the effects loop (makes the 2 envelope filters, synth and bass whammy more even in response), plus one on the FX return; this one's a bit more compressed than the pre compressor so the clean signal pops over the top of the fx to get a very punchy but squelchy blend...

I notice I'm not on the list either? I've been using a Marshall Jubilee mosfet amp for about 28 years now - it's still going strong though I'm now only using it as a power amp, wot with my new BBE pre... It's extremely reliable, surprisingly loud for "only" 300W, and extremely heavy. And if anyone's interested in the history of Marshall amps, and why they were synonymous with rock and roll there's a excellent BBC documentary called "Play it Loud"; unfortunately it's not on the iplayer any more, but is available here: https://docur.co/documentary/play-it-loud-the-story-of-marshall

Bought a BBE pre from Matthew... Quick, easy, just as described. Big thumbs up from me!

I'll never forget a gig we did at the Jericho Tavern in Oxford in 1990ish... We'd nipped out for a bite to eat before the gig and were just walking back to the venue. There was a chap running as fast as he could with a Bromley Boy in hot pursuit... BB was, of course, wearing housecoat, wig and headscarf, but was also brandishing an iron bar and shouting "We're from fa%*in' Laahnden mate"

I used to wear a wedding dress... And the Bromley Boys would turn up dressed like Monty Python women.

Funky keymeister: Ol;d Skool funky rap

Goldie Looking Chain would disagree! Most certainly not safe for work, btw...

I'd have said "Funky in A minor, eh?" And then I'd have fired up the 2 envelope followers, bass synth and tube distortion pedals and got going with "Aah the name is Bootsy, baby".

A talented drummer to be sure... But I'd much prefer to listen to (or even play with!) Dennis Chambers!

And another!

RIP! Electro! Mama Funk!

12 members voted, 13 entries!

Aye - by folks trying to sell traps and treatment products! DSP sellers would no doubt have a different take... I suspect the bestway is to get best position and isolation then traps and dsp... Luckily my Dittons were one of the speakers often used in the 70s as main monitors - being about 1.2m high means small mix rooms are out!

If you put my Ditton 66 series 2s. With 12" rear passive radiator this close to a wall there'd be either a) so much bass you'd have to fill the room with treatment products to "tame" it. Or b) a perfect hole for a kitchen extractor fan...

The first track from the Masters Of Frunk ep has finally surfaced:

I've done one... (sorry!)

I'm afraid that for £200 that's all you'll get! But Juno are doing these little fellas (Equator D5, less than 10" high) for £399 - not an enormous amount of bass but they have DSP and excellent stereo imaging:

Possibly not - or at least one of the top-notch ones. But there were a few advertised at the Doll's House in Abertillary when we played there recently; in price was £5-10. The reason I can't see the appeal of paying that, or owt for that matter, to see a tribute is that they'd have to pay me to come see 'em!

I can't cope with opera singers, specifically high pitched female ones. Like nails on a blackboard amplified to 140dB. And while we're at it, strummed acoustic guitar. In that round-the-camp-fire leavin'-on-a-jet-plane kumby-ah sort of way. Wetter than Le Pétomane after a Bangalore Phall!

Why not just get a really good pair of headphones?

Here's mine without the pedals.