SJA

[quote name='cheddatom' post='276751' date='Sep 4 2008, 09:49 AM']I love listening to the sound of albums, the "production" but I think a lot of producers get credit for things they haven't done. I always though Rick Rubin was a master producer, considering the amazing sound on some of the albums he's done, but I read in an interview that he doesn't and has no interest in knowing how to use a mixing desk. He just tells an engineer how he wants it to sound. With the description of sounds being so entirely subjective, I find it hard to beleive that he has been the one actually "crafting" the sound.[/quote] following on from noticing that Andy Wallace engineered/mixed The Cult's Rubin-produced Electric album [url="http://en.wikipedia.org/wiki/Andy_Wallace_(producer)"]http://en.wikipedia.org/wiki/Andy_Wallace_(producer)[/url] another one is Brendan O'Brien engineering/mixing RHCP's Rubin-produced BSSM- [url="http://en.wikipedia.org/wiki/Brendan_O'Brien_(music_producer)"]http://en.wikipedia.org/wiki/Brendan_O'...music_producer)[/url] (and other engineers used on Rubin-produced RHCP Californication and Metallica's Death magnetic resulting in noticeably poorer sound quality) seems like the engineers here are the really talented ones- but lacking in self-confidence and leadership skills- but with experience over time they gain self-confidence and acquire those skills and move up to become producers themselves. Rick Rubin just has the leadership skills and self-confidence, and probably a larger-than-life persona too. like many a "music mogul" (see Tony Wilson, Alan McGee, Malcolm McClaren, Andrew Loog Oldham etc.) the opposite scenario is Trevor Horn and Mutt Lange- who are practically the musicians making the music itself. on Radio2's Producers programme on Trevor Horn it was apparent that he was pretty much the artist on Malcolm McClaren's "duck rock" album- McClaren just had a vague idea of what he wanted the music to sound like, and TH created it.

"That the fookin' drummer and guitarist can do whatever the fook they want" Chris Squire's got a Manc accent now?

bridge part is fine, but the verse should be- ---------------------------- ---------------------------- -3-555----3-3-555---------- ---------------------------- ---------3-----------3------- ---------------------------- ---------------------------- -333555----3-3-5555303- ---------------------------- -----------3-----------------

looks legit to me - it must have been mostly kept unplayed in a case to look that pristine, but the yellowing on the body and lighter hue under the scratchplate look authentic-

[quote name='bnt' post='283446' date='Sep 14 2008, 12:15 AM']I thought it was both: Fairlight-sequenced samples during the choruses, real bass during the bridges. There are two different sounds there.[/quote] yeah, there are 2 sounds, but I think they're both from a Fairlight- in the Radio2 Producers programme on Trevor Horn he explained how Relax was done using a bass guitar low E note sample and a piano E note sample in unison- I suspect that's how 2 Tribes and 'Pleasuredome were done too. notes in the bridge; G (5th fret in drop-D tuning), (open) A, C, D, F. G, A, C, G, F ,D ,E. ending with low E, and low D.

yep, Trevor Horn programmed this on a Fairlight sampler. Mark O'Toole was actually a pretty good bass player though (he wrote the bassline plus his original lead bass parts were used as string/horn parts)- [url="http://www.youtube.com/watch?v=1wIHrLci6Fw"]http://www.youtube.com/watch?v=1wIHrLci6Fw[/url] closeup at 3.40 drop-D tuning (DADG), frets 3 and 5 on the A string, open low D string. and use the open A string. Welcome to the pleasuredome has a great bassline too.

see, this is where the Bass Cellar's going wrong. this one amused me- [url="http://cgi.ebay.co.uk/ws/eBayISAPI.dll?ViewItem&item=150292960929&ih=005&category=47063&ssPageName=WDVW&rd=1"]http://cgi.ebay.co.uk/ws/eBayISAPI.dll?Vie...e=WDVW&rd=1[/url] chicks dig the speaker stands.

how's it going? have you filled the P rout, or covered it with a scratchplate?

here's his website- [url="http://www.inkyhollow.co.uk/Inkyhollow%20-%20Custom%20Painted%20Guitars%20-%20Guitars%20main%20page.html"]http://www.inkyhollow.co.uk/Inkyhollow%20-...ain%20page.html[/url] interesting, I wouldn't mind a custom-painted cheap P-bass.

I'd clean the jack socket contacts with servisol, see if that makes any difference, then the pots too.

I liked the look of the 90's Gibson Les Paul bass, so I'd choose EMG select humbuckers (on the cheap), trans red or red stain on the body & neck, and black GB7 tuners and black gotoh 201 bridge.

I've added a soundclick player to my myspace page- [url="http://www.myspace.com/barrybeatmaster"]http://www.myspace.com/barrybeatmaster[/url] various songs from nearly all the bands I've played in over the years, plus bass noodlings inc. my Hamm/Sheehan-alike solo "MTR".

[quote name='molan' post='280340' date='Sep 9 2008, 01:22 PM']What a brilliant series of vids - I'm sitting at my desk downloading the entire set of 10 right now [/quote] I got the DVD+Cd of that Budokan 96 gig (Nard's last) 2years ago. Jill Jones is rather easy on the eye too....

Norma Jean- "saturday" see the chic tribute site for more info- [url="http://www.chictribute.com/"]http://www.chictribute.com/[/url] re. his chucking technique, he's seen using it on "dance dance dance" at the 1996 Budokan gig- [url="http://www.youtube.com/watch?v=PvGU_iHlSrk"]http://www.youtube.com/watch?v=PvGU_iHlSrk[/url]

I like this-

[quote name='Shockwave' post='279684' date='Sep 8 2008, 01:44 PM']See, if you wanted a very simple sound that looks the part, that could not go wrong, i would consider a 51 P bass reissue in Tobacco burst, or butterscotch, Its very fitting for the theatre part and has an excellent sound. Very simple to use, And would sound different to your RBX due to the single coil in the 51.[/quote] surely the s/c pickup would buzz like the proverbial under all the theatre lights?

yeah, Mark Manning's more of a writer and exaggerated character (like his mate Bill Drummond) than a musician. mind you, the Donnas' "take it off" has the same chorus riff as Zodiac mindwarp's "backseat education".

putting a veneer on a slab body would be easier- but there's the arm-cut here, that you'd have to either leave uncovered (IMO ugly), or bend the veneer over.

Zodiac Mindwarp aka. Mark Manning on his players of the "four stringed stumbling block"; [url="http://blog.myspace.com/index.cfm?fuseaction=blog.view&friendID=157103011&blogID=430941285"]http://blog.myspace.com/index.cfm?fuseacti...logID=430941285[/url] of Kid Chaos; "After leaving the Love reaction the sensitive lad spent a few years in the wilderness playing with various amateur bands" amateur, eh? he joined the Cult on their Electric tour! his current bassist bears the moniker of Jack sh*t, and sports a lefty Warwick Buzzard.

are those Kahler trems on the Frankenjazz and SX P? is there much routing needed to fit those?

Living Colour- ignorance is bliss, postman (some low B notes dropped in towards the end) Mick Jagger- sweet thing (all by Doug Wimbish) Megadeth- hangar 18 5's turned up in nu-metal quite a bit eg. Limp Bizkit's mission impossible cover (low B used in the chorus for the C# D#) quite a few Def Leppard songs have low B notes on them, if you can face learning them! eg. all I want is everything QOTSA use C tuning, so a 5 can cover their basslines quite well eg. No-one knows. can't think of any punk genre songs with tuning lower than D, the Stranglers' "Outside tokyo" has the E string dropped to C or something, but it's a slow waltz.....

the bassline on "Criminal world" on Let's Dance is a favourite- both the playing (by Carmine Rojas) and the tone- I think he used a Spector NS2 or a Fender with PJ pickups.

[quote name='mike257' post='278120' date='Sep 5 2008, 07:02 PM']The producer has responsibility for much more than just which faders get pushed on the desk. It's actually all about communicating, and people skills. A good producer gives an artist the environment, guidance and assurance they need to give their best possible performance. The engineer has a purely technical role, but the producer has to keep all those egos in check!![/quote] yeah, Rick Rubin is a "people organiser" as opposed to the all-round expert musician/composer/arranger producers like Quincy Jones and Trevor Horn. bassist producers- John Paul Jones (The Mission), Peter Hook (Stone Roses' "elephant stone").

[quote name='Lfalex v1.1' post='278055' date='Sep 5 2008, 05:30 PM']Nice idea, nice engineering, but plainly to compensate for the lack of adjustable bridge saddles on acoustics.[/quote] I think that's the main advantage it offers- you can easily change the action without having to change the bridge saddle, or file it down/shim it, say if you wanted to lower it for faster playing, or raise it to allow harder playing for more volume or for slide playing. although surely someone's done adjustable bridge saddles on acoustics?

[quote name='yorks5stringer' post='275717' date='Sep 2 2008, 07:09 PM']"Warmoth necks are very heavy due to steel reinforcing bars under the fretboard"...do they mean truss rods?[/quote]