Leonard Smalls

Gill-ted John - Jilted John

I suspect my 42 year old Wal is going nowhere!

The Ripper -Judas Priest

A bit of funky Indonesian blues...

Saddle up - David Christie 😁

Pee for two - Doris Day

Muddy water - Urethra Franklin

Piss Factory - Patti Smith

Kick in the Eye - Bauhaus

I fought the Law - The Clash

Funnily enough, my Mrs ordered what were called "Men's Electric Guitar Socks" for our shop. This is what came! Naturally, I bought a pair...

Stop it, you're killing me! - Therapy?

I remember seeing Mutoid Waste Company at the 100 Club once with the excellent World Domination Enterprises... While the Doms were a diminutive three piece, by the time all the Mutiods were in the venue with their multifarious things to hit and their MadMax sculptures you could barely get the crowd in!

You bought three to come to that conclusion? And that they come in all shapes and sizes for a wide variety of uses, with the added benefit of convenience? Personally I prefer my 4x10 cab, sometimes with additional 2x10 on top because I feel that they convey more than just a vague one note rumble. I wouldn't necessarily go as small as a PJB cab, but I have a pair of hifi speakers that use long-throw Peerless 6.5" drivers (1/side!) to produce a very creditable -3dB point of 28Hz at sufficient volume.... So in the same vein, while my baby tuned Abarth with piddley 1.4l engine isn't quite as quick as a US muscle car in a straight line, it'll kick one up the Ariss in decent twisties!

She Hates Me! - Puddle of Mudd

Zehn kleine Jägermeister - Die Toten Hosen

Nope... Only really for recording and then only if you're using bass reverb or fancy phasers'n'stuff. Though I quite like the OmniBass (TM) effect you get by turning Stereoise up to maximum below 200Hz!

In terms of producing stereo from a mono input, you fake it! Basically, you put the mono signal onto tracks 1&2, then phase some (or all of the frequencies slightly differently (i.e add a microdelay). But luckily, there's many plug-ins that'll do this for you so it sounds reasonably realistic - frinstance, I usually use Imager in Ozone 9. It does the microdelay-at-frequencies thing, and allows you to "stereoise" further. It does this by using the concept of "M&S" (not Marks and Sparks, but Middle and Side or even Mittel und Seite as if was invented in Germany!). In this, M= track 1 + 2, S = track 1 - 2 so S is the difference between the 2 tracks. In that way you can make something more stereo by boosting S, then recombining to make tracks 1 and 2 (i.e. (M+S)-(M-S)= 2M+2S). As for "point stereo" in-ears, they may work using "binaural" rather than straight stereo. In ordinary stereo, you record with a pair of crossed mics, i.e both in the same position but ends about 1-2" apart. In binaural, mics are placed the width of a human head apart - the idea being that it gave a more natural reproduction of space, especially with headphones and was popular in the 60s and 70s...

I'm working on two - one's a slap funky thing, the other's a bit heavy but both pander to the bourgeois notions of key and time, much as it pains me! One's even got some rapping, which is always appreciated here in this cradle of modernity

I don't give a Fork - Suicidal Tendencies

Funk That Junk(ie) =- Brother Strut

(Optic) Nervous System - Killing Joke

Pub-lic Image -PiL

Back in the late 90s when I worked on a Well Known Soap, we built the first integrated Production/Post Production System in this country, possibly the world! And we had a rack full of Seagate 50Gb drives, each of 'em about the size of a modern desktop computer giving us an unheard of 1Tb! That was £tens of thousands without the aircon and other racks of switching stuff to communicate with the stages, edit suites and sound dubbing suites.

And only £900!