diskwave

As with everything today which is sub standard.... the phone. It's the phone thats messing with everthing and everyone. No one toaday can focus on anything....always playing with the phone. Back in the day there were no distractions and you were 100% focused on the job. If what Im reading is the way it is now and I ran a studio? All phones would be left outside until the job is finished.

Back in the day they would have been sent off for coffee and a session outfit would have done the biz...Happened all the time back in the 60's, 70's. Its a myth that record companies paid gazillions for no name musicians to spend days doing retakes ad nauseum. Name bands like Floyd, Queen who were accomplished musicians anyway, totally different matter. I've done sessions onto 4' tape and the pressure to get value for money was immense...

Absolutely. Saw that horrendous Apple Mac ad the other night where she presses a button and then says shes written a tune...But the thing is, the "sample" used was originally created back in the day by an extremely talented musician. This entire thing is completely unsustainable... Oh and just to bang on endlessly...yet more adverts aimed at 'young people' using "crappy" old'... pop stuff from the 70's. No Adele, Sheeran or any of them... and I think we all know why.

Feel like Im living a mad cap parallel universe. Go listen to any old heavy/power rock music recorded in the 70's. No click, no this and that or the other...and bloody brilliant!. If everyone cencentrated on playing freely with heart and soul you wouldn't need all this stuff.

Mentioned it before hoping it might jog someones memory. There was this Euro guy on YT a long time ago....smoothest funkster Ive ever heard. Vid was him sat playing in a studio with a rack of old P basses. Reckon its been pulled...pity.

The title is etiquette, It does seem to have morphed into general studio chitchat, which is cool. Anyway one observation. How does tightening up the tempo make the final recording good? Gazillions of old recordings made without post recording tempo management, and those old tunes are now industry standard gold. Maybe someone could help me out.

For me a grt track has all the right notes assembled in a very pleasing way to create, rythmic structure, emotion, tension and dynamic impact. Yeah sounds pretentious but I know what I mean. And I sure as hell know it when I can't hear it.

Just a guess. Is the OP talking about that lush J bass bedroom sound so enjoyed by a lot of younger players..the one which sadly disappears once on stage. My home playalong sound is a bone dry grey/middly tone with dead flats which on its own sounds a bit dull I suppose you might say...however stick on a track..reduce the bass on the music box and that dry tone could almost be in the mix.

Blimey thats the best Eagles thing I've ever heard, very nice work indeed, grt P bass too ...tho mind old Don doesn't get wind of it...I trust youve sent him a cheque? haha..kidding, sort of.

This. Stores are now the Saturday afternoon domain of mum,dad and the grandparents who dont know much and will just hand over the money, meanwhile those in the know will trawl online and just get it cheap anywhere.

Not exactly a regret more a whistful sense of something I was part of that was great and that will never happen again. Twas back in 1986 and Id got a summer Hotel season thing on the Isle of Wight. Drums, bass, and a Fender Rhodes with a little string machine on top, all lead by an extraordinary white version of Tina Turner up front, big hair, gold lamay jacket...huge voice... Still got a playlist. I've done a lot of stuff but as a unit we were flippin good with a packed dance floor four nights a week for four months. Just nice to have those memories I guess. Its actually got me thinkin about that backing track thread too. Back then you could take it where you liked, be spontaneous... and above all....relax, and just play loose!

Like parts of the body, every ones got one and there all slightly different....but to be slightly serious. There is no diffinitive answer...best way I deal with it is to break it down to this. Why is it 'Twinkle Twinkle Little Star' is such a phenomenaly amazing piece of music. I mean its a bit silly, simple soppy, stupid even....but its iconic, and its iconic because it is very cleverly written to fit the genre it was written for. In other words what ever you write has to work. It doesnt matter how daft or serious it is..it simply has to be well written for the genre.

I have the same condition and Im afraid it's your body tying to tell you to stop, and I don't just mean electrical instrument noise. Babies screaming, my spouse getting excited about something, machinery, noisy places, outdoors...even playing my other acoustic instruments...its all saying one thing...time to excercise avoidance and use protection . I now cannot leave the house without ear protection in case I need it....I even have a tiny plastic chk list on the dash in the car with ear plugs in bright red txt to remind me, and forget those fancy muso plugs I have to wear the purple and green undustrial ones as a precaution. Maybe youll be lucky and can carry on but my future days are seriously messed up and I bet we're not the only ones. Read somewhere that Debbie Harry is in a bad way too.

I really like the Thin Lizzy format. Original drummer but complimented by three younger guys who have held onto the vibe without trying to be a tribute act, especially the singer kinda like Lynot but his own man....they are very good.

It's good but that production is still not as lush as anything from the early 80's which I presume is the time its trying to emulate. Proof tape and old school studio skill are a rare thing.

Quite simply forgotten how incredibly good they were...stunning talent...Her vocals in particular are sublime...In this age of sub par talent and that A tune word thing they now all have to use....what a treat.

Back in the day a good pop cover band sounded good because of one thing... a top draw keyboard player. Way more fun than a backing track and you can go where you like. Played with many over the years. One memorable one was a guy with a Rhodes and little casio type thing on top for strings....We sounded great doing old school disco, soul and funk.

68? Thgt the bridge anomaly started in 70. Anyway its a just a bog standard P bass from the era...having said that a good one is a keeper.

I played a 77 black/maple for ten years in the 80's...nothing special at all. I've played subs which were better, nicer. A heck of a lot hyperbole out there in guitar land.

Reckon Lennon would have made it his next single after Woman..its got that early 80's Lennon vibe ....Doesnt really sound like the Beatles.

Isn't it. Can play that lazy groove all day....so much space, with each note full of purpose. When you get the feel right its just soooo heavy and tight....love it.

Open the windows and plug in...bass playing paradise.

U know the day has come when even in a tricky bit ur looking around the stage or out into the crowd yawning and not paying attention in the slightest.....That was the day I packed it all in. Anyway back to those questioning an unusual vocal. There's a world of difference between beeing blatantly out of tune and having an unusual vocal style. Bit like Picasso versus Constable. Boy George has never sung a single note in tune ever but he sounds brilliant....Ferry too and the rest..Its an important distinction

This. Just clocked the Thin Lizzy guys on YT with Brian Downey who still can play as he did, and the others are just top notch, specially the singer....and, visually it all hangs together too...so yes, as an eg, works superbly.