Where Richard Drakes talks of the video giving a so called Good Indication Of The Much Talked About Kurt Morgan Bass Tone I would like to pass a comment of my opinion on that. 

In all fairness this is an extremely Low Budget video and editing job. It's great to be able to give people a General Eyes And Ears View Of The Performance but the extremely low budget equipment used is mentioned in the description area of the video. Not only in the audio clarity low budget but this edit cuts out some of many really fine bass runs.  Some of which can be seen and some of which can not. If I had to give it a number I'd say the bass audio heard here is a two out of the spinal tap eleven that I heard live. There was just no way the equipment could capture the density of the wall of sound that the performance was in the live environment. Hopefully Dweezil Zappa can upload a portion of the FOH Audio that Glynn captures at each show.

As far as video I did use some effects to showcase moments of Kurts enthusiasm not only within his own performance but his overall groove to what Max was doing. I certainly felt there were things going on here that I wanted people to see and hear in Kurt's playing. The same can be said for Joe Travers, it's quite unfortunate that the video was not able to catch much of that but many of us should have a good idea of what Joe has done. This here is a special composition. I wish I could have given all a  better look at Joe's performance. It was just not possible with the angle and equipment I had. Also the video does not give any indication to what Dweezil Zappa was doing on Cry Baby Wah-Wah. You can hear it but that was something to witness. While I was shooting in one area my head focused on many different areas. This performance was beyond the imagination....

I have had the opportunity to have several conversations with Kurt and in giving accolades to his sound and performance style with all the material he is performing it's great to not only hear subtle things played with fingers but his usage of a pick. For example some of the 60s material is best suited for playing with the fingers and some of the 70s material has so much more attack and decay when played with a pick. DZPZ have found themselves an amazing bass player that quickly has shown diversity in not only playing the parts    but an overall clearer sense of tonal diversity. One other thing I will mention was at sound check at Bearsville Kurt was doing some amazing things with feedback using an auto wah-wah. Conceptually I was thinking it sounded like Star Wars Hans Solo Millenium Falcon going into warp speed.  Maybe at some point in a show there will be an area where that can fit in.

Max Boras brought the enthusiasm of a young Pete Townshend Live@ Leeds performance. Conceptually  Sophia Townshend is a fitting stage persona for Max Boras. Pure and Easy a union brought on by the youth that is getting in tune with it all. Waren Cuccurullo was the first Rocking Teenage fan to learn all of FZs material. That energy continues today with Max Boras. He brings his passion for Frank Zappa and Pete Townshend together in the same performance.

It's great that people can enjoy this on any level.  For those interested in these kind of things the actual performance ran close to seven minutes. I felt Torture Time In Bearsville was a good name for this edit. I quickly went through the video and upon first listening came up with some edits and then applied the effects.