woodyratm

[quote name='waynepunkdude' post='1276048' date='Jun 20 2011, 04:49 PM']If I was in your position I'd get a natural Sadowsky with maple neck.[/quote] I had thought them. Will go have a look. ta

Hey guys, This will be an interesting thread. I currently might have some money just now (flat repair or new bass...) I have about 2k max to spend. I want something like my Lakland DJ4 since i love the neck profile of it. I will admit that i'm a sucker for a 70s jazz in Natural with maple neck and block inlays but thats not a major requirement. I prefer J style pickups and would like to be able to bypass a preamp (im not sure how the zvex pedals react with actives?) I've messaged Jon Shuker about a stock bass he appears to have just now, but i'm not sure if that will still be available etc. So... fun part. Anyone got any suggestions for me? Go nuts. Dave

Welcome to the world of tomorrow!

[quote name='STAB91' post='1271906' date='Jun 16 2011, 06:00 PM']Timmy C[/quote] YASS! Also Hi. Say hello to wanting new toys ¬_¬ lots of new shiny new toys. Enjoy

Would love to see what you did for this. Pretty awesome!

Another thing that i've found can be helpful is to mix it down and burn to a cd and test it in a car and a normal stereo. For some reason my car (stock speakers) shows up some stuff i'd not noticed.

[quote name='silddx' post='1269834' date='Jun 15 2011, 11:20 AM']Studios are all about people. Equipment is important, but it don't mean sh*t without people with talent. You can record great music on next to nothing. So talk to the people you'll be working with, get a feel for them and listen to what they've done recently in the SAME studio. CVs don't mean much either. We've had people with amazing CVs (2nd engineer with major producers etc.) who set up their own studio and offer to produce our music for free. Then you listen to their work and realise the reason they made the offer is because they want talent to work with for their next CV and they actually have no f***ing ear whatsoever, and little ability to produce great recordings and mixes. So, studios are all about the people. The most important thing is to get good clean recordings with plenty of frequency range, especially for acoustic instruments. It should go without saying you should be very well rehearsed and able to lay down really well performed tracks quickly. Production is where it's at now, so getting good recordings to work with is what's most important in a studio. Decent mics, pres, desk, and room are important, so do your research on what good equivalent studios are using. Recording drums is a major undertaking. You get people micing each drum, you get people micing the kick with two overheads, depends what is right for the band and what sound you want. Be wary of too much processing, some people stick all sorts of sh*t on the drums, gates, limiters, reverbs, all sorts. This isn't generally necessary now as it can all be controlled on the computer at the mixing stage. Again, get good clean recordings with plenty of frequency range. An experienced engineer with good ears is worth their weight in gold. Recording a live band in a studio is where you need plenty of space, good room sound and good equipment with an engineer who really knows what they're doing in terms of instrument isolation, mic phasing, and minimum bleed on the channels. After the tracking is done you need to work with someone who has a really good ear and technical knowledge for mixing and mastering.[/quote] +1 Also i've found - be willing to discuss aspects with the engineer. Take their advice - what sounds good in a live enviroment may not work brilliantly in a studio (as i found out recording effects)

[quote name='AttitudeCastle' post='1268012' date='Jun 13 2011, 10:25 PM']Good to see another bassist from the mighty Aberdeen [/quote] Think theres 5 of us now

[quote name='Wooks79' post='1267333' date='Jun 13 2011, 02:36 PM']These things happen, no matter how well you take care of a bass, if you actually use it and gig it, then chances are something will ding it eventually, and to be honest, that doesn't look that bad from the picture! Don't beat yourself up over it.[/quote] +1 - I've done far worse Weights and Stingray wee chip at the bottom.. Though i've heard clear nail varnish stops the paint continuing to come off. Though i cannot say if that actually works! Dont worrry about it

[quote name='kybosh' post='1267279' date='Jun 13 2011, 01:42 PM']...just what it says on the tin , hello [/quote] Hi

Sorry I should have said before (damned lunch!) - I didnt use that exact model - used the 707 i think (agesss ago) But it only had 3 pedals on it - Bank up, Bank down and an exp pedal. I had to set 3 different banks - eg one patch would be set with a fuzz tone, other clean and the other synth for example. If I was playing a synth sound then wanted a fuzz for example, I had to press bank down twice - so Synth to Clean to Fuzz. This was a long time ago, and the 707 could be drastically different from the B2.1u. Apologies for the confusion!

Sorry I should have said before (damned lunch!) - I didnt use that exact model - used the 707 i think (agesss ago) But it only had 3 pedals on it - Bank up, Bank down and an exp pedal. I had to set 3 different banks - eg one patch would be set with a fuzz tone, other clean and the other synth for example. If I was playing a synth sound then wanted a fuzz for example, I had to press bank down twice - so Synth to Clean to Fuzz. This was a long time ago, and the 707 could be drastically different from the B2.1u. Apologies for the confusion!

From my experience of Zoom gear (which was a few years ago mind) - mines didnt let me switch an effect off per se - i had to change bank. so i just always put effects together i used more frequently. 1 - Fuzz 2- Clean 3 - Synth Sorta thing.