Doctor J

Play. You just play leaderer bass. Kick donkey, take names.

Yes, but, I mean, not literally.

In Terminator 2: Judgment Day, in the scene where Robert Patrick, playing the T-1000, drives the truck off the bridge, into the levee, you can clearly see the right-front trackrod break and the wheel break alignment and spear to the right. However, in the next scene, the truck is grand.

Don't go into it thinking "what should I upgrade?" Upgrades should only be a consideration if you have played it for a while and found something to be deficient. Japanese Fenders are generally superb. Play it for a while and get to know it. Only then decode if you need to mutilate it.

Perhaps it was "too hot to handle" and muttered by a guy in Cash Converters?

The scratchplate is the least of the design problems there 😂

I'm 48 and write my own stuff. Don't give up, if you enjoy playing. Adapt to the situation and find a way to make it work for you.

Coral Vorderman?

Keidis is the weak link, for me. All the spunk, sexiness and danger is gone. In their place is a fella trying to make sure parent-teacher meetings don't get awkward. It sounds like he's got nothing left to say and is filling space with meaningless fluff, trying not to upset anybody.

They will be owned by banks and hedge funds, to be loaned out to future versions of Joe Bonamassa to play their fake blues on, in high-priced pay-per-view special streaming performances.

Inspired by a recent post by @NancyJohnson in the band name thread, a thread with a list of all your band's names over the years might be entertaining... hopefully. Starting in 1989... Morgue-asm - mercifully never even made it as far as a rehearsal room. I think there was a logo, though. Edible - all the songs were about food, unintentionally. Old Scratch - found in a thesaurus, looking up Satan. Perfect for jazz metal improv. Frank Mammoth - they wanted Black Mammoth, I said no. Twin Earth - turns out there were multiple twins. The Remain - yeah, I know. Broken Holmes Angry Watson - very short lived noise thing, I really liked this name. Trusted None - can you feel the angst? The Chapman Society - after Mark. Better than The Remain, I suppose. Acrid Nebula - heavy stuff. Decryptor - a moment of inspiration while looking at a laptop hard disk. Two Tales of Woe - not one, not three, two. Withered Fist - inspired by the glorious remains of St. Istvan. There may have more, but those are the ones I can remember.

Very cool. Like a 2022 version of the 20/20

Thanks, I was messing with the kick EQ and volume right up to the end, I couldn't get it to work, but I put a high-pass filter at about 80Hz on it which made it a lot better. It's a 20" drum. I was really worried it would sound puny when I bought it but it's got a lot of meat to it.

Yeah, if versatility is key then the G&L is king of that particular mountain.

The song: For some reason, I envisioned a male escort on his way home after a late... ehhh... shift, I suppose. He's a good guy, alone in a world which just doesn't understand. The technical stuff: Yamaha drums into Thomann mics into Behringer interface, as always. I tried a little bit of damping on the snare top skin, kind of going for an old-school disco sound but I think I missed. I tried additional percussion too, for effect, That's right. Cowbell. There are four bass tracks on there. A high one with the Ashdown octaver thing on, plus a low bass during the verses. The other two was messing around with a Boss Synth Bass pedal, which was a lot of fun. Guitars were a Tokai 335 and a Bacchus strat into an Avid Eleven, as always, but there's not much guitar on there. Sometimes it's just basses stacked or just one bass synth track. I wanted to do some wah stuff, in keeping with the theme, but the pot in my wah pedal is scratchy and cleaner couldn't cure it. Instead, I tried some envelope filter stuff which didn't really come out well. Vocals are me trying desperately not to sound like myself, including 6 tracks of BVs to try to make it sound all motown, like. Yeah, that didn't really come together either. Ah well.

Same with mine, the neck is fantastic and very stable. I don't think Tokai have widespread neck issues. This thread is the first I've ever heard of it.

I used to have a Digidesign 002 and OctoPre connected via ADAT, back in the day, and sold them when I stopped drumming. After I started drumming again, I went with Behringer UMC 1820 and Ultragain Digital at very reasonable money from Thomann, again, connected via ADAT. I'm running 5 toms, kick, snare top and bottom, two overheads and dedicated hi-hat and ride mics for the kit, with channels to spare for stringed instruments too. I can't fault them.

You should look up the old bassist. If you like judging people based on a couple of paragraphs in a magazine article, it'll make your day.

It's got what it takes, so tell me why can't this be good?

Maybe send a message to @Eldon Tyrell, he's selling his one

Yeah, the new track is very poor. Still, we live in hope, eh?

I usually have the vocal idea in my head or, if it's a riff, I'll record it on the phone. I counted recently, I have about 70 songs in various incomplete stages, so take this method with a very large pinch of salt. I record into protools and, after a few years of programming drums, have gone back to learning to play and record drums if I think the music should have the sound of "real" drums. Harder, but more satisfying, I think. Guitars and basses tend to be recorded via an Avid Eleven. It's not the best bit of kit but I've usually gotten what I need out of it. I've an open mind towards getting something better should a nicely priced alternative appear. Anyway, It's generally like this... Figure out tempo(s) Work out song structure to click and record a guide track really emphasising quarter notes (I tend to listen to bass, so I lose focus on a high pitched click like a cowbell or whatever), the bass or rhythm guitar becomes the click track. Figure out what the drums should do, see if I can actually play that and try to play it well enough over a few takes to be able to edit together a decent track Once I'm happy with the drums, bass(es) usually comes next Rhythm tracks next, guitars, keys etc. Once I've got the foundation of the song together, I start adding the fluff Lead guitars, solos, effects, fluff, etc next Vocals, if there are any, usually come last I tend to work towards a mix as I go. Everything gets tweaked along the way to what I think the end result should sound like. I tend to gate the kit, just to leave more sonic space for other instruments. I've a drum kit in a converted bedroom with my recording setup and other instruments, bring recorded by Behringer and Thomann gear. I don't have the luxury of Studio 1 in Abbey Road to record in. After I do some work, I usually bounce down a mix to listen in the car, or wherever I'm out and about, just to hear how things are going and to make mental notes for mix tweaks. I've recently been learning how to use delay more effectively and am trying to be braver and more savvy with reverb. I'm a late convert to bussing groups of instruments into a group fader, ie drums, basses, rhythm guitars, lead guitars, etc. Once everything is recorded and edited, if required, I get a final mix done and master it. Bad habits from this approach... I just learn the track to play it well enough to record. I miss the fine-tuning you'd do with structure or lines in a rehearsal room with other players. I've often found myself thinking I'd have played a slightly different drum track when I've eventually gotten to a final mix, having heard everything else at that point 😂

https://reverb.com/item/51064344-ibanez-sr840tr-mij-1999-limited-edition

SR840TR ?

It doesn't have the deep neck pocket, I'd think it's A SR500 or 600, thereabouts