Rich

Sex - Paul Young

I've tried both on my SIre V7 and can report that, to me at least, it made no difference whatsoever.

Grandad - Clive Dunn

Knucklebones - Dave Lee Roth

The Laughing Policeman - Charles Penrose

The "Anvil Chorus" (Coro di Zingari) - Verdi

Neunundneunzig Luftballons - Nena

When Tomorrow Comes - Eurythmics

I would take issue with their description of 80-160Hz as 'boom/punch'. Punch definitely, but for me 'boom' is down the lower end near 'rumble'. Usually 'boom' is something I try to get rid of as it just makes the sound muddy. The red 30Hz slider on the Trace Elliot 12-band graphics was very useful for this.

Galway Girl - Ed Sheeran/Beoga

^ This.

Hungry Like The Wolf - Duran Duran

Eat It - Weird Al Yankovic

Heaven is a place on earth - Belinda Carlisle

Misty Mountain Hop - Zep

Castaway - Zac Brown Band

I'd Rather Have A Bottle In Front Of Me (Than A Frontal Lobotomy) - Randy Hanzlick

Summertime - Ella Fitzgerald

Goodnite, Sweetheart, Goodnite - The Spaniels

Frank, that is absolutely positively the last time I want to hear anything about your dong. Dinged or otherwise.

Wipeout - surfaris

My "who cares?" (which could probably have been better worded as "does it matter?") was a direct answer to your question "would anyone else want to watch/listen?". As in, do things necessarily have to be played purely because other people will want to listen to them? Personally, I'd give my left nut to have his level of skill, both in playing and transcribing. He obviously has an amazing ear as well as 'awesome chops' as I believe some of the hep cats say. Or used to, last century.

I like it. I couldn't listen to it all day, but as a bass solo, it's about a million times more melodic than most of Vic Wooten's.

Who cares? I can't speak for anyone else, but if my sole reason for playing was to do what other people wanted, I'd give up inside a week.

Love Me, Love My Dog - Peter Shelley