scalpy

No engineer would use kit I had made, as it wouldn’t work for starters. This engineer isn’t a brand snob though- we once double tracked a guitar with a 62 vox AC30 on one side and a £15 smokey cigarette pack guitar amp on the other!

If you pitch walking basslines to a student correctly you can cover a lot of ground very quickly, particularly if you comp along on guitar or piano. Then keep bolting on the next baby step- they’ll feel like they’re doing the job for real, upping their motivation.

Thanks jensenmann, that’s very useful. The Avalon hasn’t really piqued my interest, so that was a no, but I’ve been plenty of gigs/ sessions now where the bss has been used. The diy job, that will be of a similar spec to the house Di.s, as I alluded to earlier, the studio is very well specced indeed. So, tonehammer is on the wish list unless I can find something a bit more esoteric (but maybe not the price tag of the gyraf- ouch!)

How do you mic a contrabassoon? That sounds like the start of a joke but I’m genuinely interested!

That’s interesting to know, I tried a tone hammer 500 recently and liked the ags sound, just didn’t go for it as I couldn’t change sounds quick enough (a lot of my gigs are pretty frenetic or I can’t reach the amp). The pedal therefore might be a good ploy, thank you.

I can certainly see your logic, and I’m confusing myself with options as this thread goes on (!) but the old school combo thing and me doesn’t gel, I’ve played through John Giblin’s B15 and it was well rough and the b15 that used to reside at AIR Montserrat, and that broke.... At the moment the ZOD has the cache but the vintage deluxe micro tubes might have the most applications after the session.

Uh-oh, that looks perfect.

The material is pretty poppy, and the engineer is expert at getting a great organic sound. I’m going to approach most tunes with the lb-100 p with flats, the ASAT with rounds will feature on the louder stuff and there will some fake synth stuff as well!

Neve looks great, and would fit right in as the studio is peppered with mk1 stuff built by the man himself. Definitely on the maybe list.

I think you maybe right! Although typing I think I need more personality in the sound in my last post did make me realise I need to get a Darkglass or tone hammer, something along those lines. Cheers for the help though!

Thanks for that, but I was thinking more about something with a bit of personality. The studio has some hand built boxes done the old engineer, so I think ‘super accurate neutral’ is covered- should’ve made that clearer in the original post.

Hi all. I’ve got a nice session coming up with a team I’ve worked with before. It’s a social as much as a job and part of the tradition is surprising each other with a new bit of kit. Despite being on basschat I don’t really covet much but was thinking about something along the lines of Reddi or the Demeter on here at the moment. Normally my signal path is DI out the amp (markbass) and a large mic on the cab (U67?!?). Would I or the engineer gain that much from a decent DI signal? I’d ask the engineer but it’s him who likes the surprises!

My tactic- Marry the singer.

John Giblin?

Pretty sure there’s been plenty of good rock music since then, Songs for the Deaf springs to mind, but it officially died the day Andrew Lloyd Webber released the School of Rock musical. Even if John Bonham could do CPR it’s way too late now.

Great video and had a quick check against my transcription- and we work it the same way fortunately. However, I maintain if you have a band that isn’t really familiar with the song and the singers don’t dictate where the tune is it’s blooming tricky!

The verses are all over the shop as well, I wrote it out for a fireworks night do thinking it would be an easy learn but each one is different. No rules for those guys, just change chord where the tune dictates.

The guitarist in our band has a 62 strat, gigs it occasionally. Everyone thinks it’s a reissue unless they really know what they’re talking about. Re finish so slightly different rules compared to the bass above.

Yep!

Yes, the Sting/ Shaggy record.

Was in Cheltenham the other week, right by that place. Never heard of it fortunately as I’d now be in the possession of a criminal record.

Are you sure we didn’t play the same place? Exactly the same for us at above example. Herefordshire/Worcestershire border?

Did one last year. The drummer arrived first and the venue manager told him he was too loud before his tom case was out of the boot. There was a 70dB limit for us at the bar. The bar was quite a way from the stage, we did a dB check with no music, just the punters laughing amongst themselves was peaking 85 or so. The bride also wanted to perform first- she and her sisters had been in a girl group and the groom had never seen them. They did about 10 insipid All Saints numbers and we went on. The bar promptly served the food and we just watched the audience exodus from the dance floor. Then the manager comes over and said we were too loud. First dance was wind beneath my wings, which would make a worthy much shorter post on this thread in itself. Only the bride and groom on the dance floor. Things did get rolling a bit but we had a laugh telling the audience off for clapping too loud.

How to take credit for the audience dancing.

First off, I adore the first bjork clip, that got me into her in a big way- seemed so unreal and interesting. Second, it’s a great shop window for unusual and off the beaten track stuff which is interesting but sometimes you just want some balls to the wall rock n roll. Jo Wiley remembers this episode the way I do, I think it was overloaded with rock, wolfmother and another I can’t recall, and the Foos come on at the end and go, enough’s enough, have some of this. Love it.