Lozz196

I reckon you’re on the right track with pickup heights, there’s nothing in your eq that would make me think lower volume on thinner strings. To counter this I for one raise pickup heights but also use gauges such as 50-105 rather than the regular 45-105 to get thicker strings over the - bizarrely imo - nearer the bridge pickup.

It’s funny but when I go into the studio I prefer to work to how the producer wants (aside from radically changing my sound or wanting different instruments to be used). Given we’ve chosen them based upon their results it seems best to work to their preferences.

From The Jam & The Skids at The Roadmender in Northampton in January.

I’m fine to record to a click, the track might vary a bit throughout but it reins it in a bit and keeps it largely under control.

Yep many great in the mix sounds are tinny clanky and more driven than would have been thought.

Exactly what happened on my last recording session, tho to be fair I was playing a 1969 P Bass with semi-knackered strings already. Doing that did make for a great sound that sits in exactly in the right place in the songs.

I think its a hit on the hi hat or snare that makes it sound like that, given I love the film it really bugs me, such an awful coockup

I get that Pete, I love Wuthering Heights by Kate Bush, fantastic song but the part I really like is the lead guitar on the ending, fantastic playing.

Re the instrument thing, I’ve been in loads of recording studios all over the place, all of them had guitars/basses/amps lying around, they’re pretty much tools of the job. But as with anything that isn’t mine, I’d only use it if granted permission by the owner. Confirm with the producer it’s ok to use then great go ahead but never just pick them up and play, that’s just bad manners.

I`m going back to about 2009 when a band I was in played a scooter rally. We had to provide full backline and PA, but the gig was indoors (the rally was at some clubhouse in Kettering) there was power etc. We were paid £400 I think, plus free camping - as the bands name was The Daves our 4 tents became Camp David.

I think I`ll get this done, good call methinks.

Yep, caught me out the other night. I’ve now taped an instruction onto the amp to check this now so I hopefully don’t cause myself major panic anymore.

What the phonk!

I do understand that aspect, I play all of the ones that I`ve bought as investments, I just don`t rehearse or gig with them.

It is possible to both be a bassist and buy basses/instruments as investments.

Pretty much the same for me.

I remember back in my youth turning up to the studio and the producer being rather miffed that my intonation was out. I didn’t even know what intonation was, I just played the bass set up as it had been when I’d bought it. I think that’s my only faux-pas re studios.

Going by what I`ve heard at The London Bass Guitar Show you`d probably be named as a bad bassist. I remember trying a bass out there and playing Warhead by The UK Subs with a plectrum and people were literally open-mouthed, seems I wasn`t a part of the slappers gang.

The main thing I get from that is: “I wrote them for nothing. It just doesn’t seem right to pay these astronomical numbers of dollars for something I created for nothing.” Fair play, I see where he was coming from.

I struggle with that big time, mainly as hearing wise I can never fully - or sometimes hardly - understand them.

Hubba hubba, Marshall making Ampeg look positively tiny there. Am very envious, having heard a couple of bands use the full VBA stacks they are immense, VBC412 my fave ever cab.

That second pic makes you look like you’re levitating.

And the below, tho apparently it could also be about toast

Def, really nice gesture that

Sounds to me like the gain/drive is on - maybe the on/off switch for that has broken leaving it on.