SR V: To boldly go where no room has gone before

That reminds of the episode of Scrubs when Carla tells Elliiot how she can have an orgasm while sitting on a dryer.
I have a huge crush on Sara Chalke since then

I managed to find my exes many times. 

Glory glory hallelujah.

I have Studio Zund and have only read some of the booklets so far and not removed any of the CDs.

I'm not in a Magma Marathon mood at the moment.  Maybe tomorrow.

The only way baseball can be entertaining.

James wrote: I was expecting lovely female cheerleaders.

I don't have a girlfriend, so I w**k off to motW anyway.

Also, I noticed the amount of reviews where people complain about a lack of bass content in the mix.
I then listened to those albums through my studio monitors and have concluded those people need new speakers or have damaged hearing.
I think Rob/Epig said SFAM lacked bass, but if there were anymore bass the mix would become pretty damn muddy. The bass in the mix is pretty much dead on with the guitars, no need to increase it.

You know, people will always complain about bass. Not enough, too much, it is there, it isn't there, there is a bass solo, there isn't one. Myung is the white power ranger, Myung isn't the white power range. I have not but once or twice listened to an album where the bass part offended me.

I think what Rob/Epig doesn't understand and I don't mean offense to him, but in the metal world, bass is an extension of the bottom end of the guitar essentially.
And now, hoping Rob finds this post, a guide to the ways of metal productions:
Guitar speakers, as you may or may not be aware the lower limit of the audible frequency range of guitar speakers go down to about 70-80 HZ with most speakers (the upper range between 4.5 to 6Hz).
In pretty much most well mixed metal productions, everything in the guitar tracks below 100 Hz is completely taken out of the mix.
Why?
Because it's the job of the bass guitar and bass drum to fill the space below 100Hz in a metal context on a recording, but because of overtones bass is also important for over 100 Hz too.
People are lead to believe that booming bottom end you hear is just the low end of the guitar, but it's not the case, it's actually the bass guitar and often in metal the bass follows the guitar riffs one octave down anyway.
The best comparison you can make is to grab Ride the Lightning by Metallica, grab a recording program, insert this into a track and using the program's EQ, remove everything below 100 Hz.
You'll notice it does sh*t all since Metallica ripped Cliff Burton off and dialed in jack sh*t from the bass track into the mix.

Now grab SFAM, dial out everything below 100, in fact, everything below 150 Hz if you can and you'll realize it sounds extremely thin after you do that. Obviously because the bass guitar's fundamental frequencies and some of the overtones are now pretty much dropped off from the mix.
If you actually listen on studio monitors as you do this, dialing the bass out and then turning the EQ section off so it's all "flat" again, you'll notice suddenly the bass guitars are actually pretty much even in volume to the guitars. If you were to add anymore bass to the mix, it would just sound muddy.

Another common misconception of metal is that the heaviness of guitars come from really low frequencies.
This is not correct.
The fundamental frequency of the lowest note on a standard tuned guitar is approxmately 82.4 Hz.
Or let's take Gojira, which is a ridiculously heavy band, tuned down to D standard, the lowest fundamental frequency of a D standard tuned guitar (playing the D string open) being approxiately 73.4Hz.
Those frequencies are removed from the mix in a studio album anyway because the fundamental frequency is of no importance to the heavy nature of the guitar tone.

It's all in the overtones my friends.
Those low power chords sound heavy as f**k due to overtones that exist pretty much between 250 and 600 Hz.
That is why when you put on a Metallica album where the mid frequencies are ultra scooped out, despite the fundamental or the next overtone up from that being there, the tone sounds as strong as the power of an ant urinating on your shoe because the frequencies because the key frequencies to heavy tone as not present.
A lot of those heavy riffs on SFAM that sound pretty heavy, the heaviness of the guitars is all above 250 Hz basically, it's the bass and the overtones of the bass guitar taking care of below 100 and also a lot of the space between 100 and 250Hz.

Hopefully this clears up some confusions you may have had while writing your review Rob/Epig and you now understand how important the bass guitar actually is in a lot of Dream Theater and a lot of metal in general since the 90s.

You know, you spend too much time playing guitar, and should feel bad about it. Wasting your life, when you know that you are a post 89 artist anyway. Even without that glaring and all important flaw, you are a nerd and should be depressed.

I have good social skills. I just dislike people too much to want to deal with them. Harry, I spend less time with other people than you do. At least, I probably do.