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  2. For me the most important items in a studio these days are suitable acoustic environments to record those instruments that require them, and a good producer and engineer to coax and capture the performances out of the musicians. No amount of hardware can replicate these. In the early days of home recording I was able to tell myself that my recordings would be better if I had more professional equipment in my studio. Now that everyone can have a fantastic studio in their computer I can't hide behind these delusions anymore.
  3. I always thought 'Maxwell Murder' was a dogturd of a solo in a dogturd of a song. Never mind that the bass solo itself sounds very goofy, but the song itself goes on longer because if it! Awful.
  4. A Skull Full of Maggots - Cannibal Corpse
  5. I couldn't have said it better. I like Berthoud's videos and the fact that he upsets a load of old fuds whenever he posts something always makes the comments section/forum threads quite funny.
  6. Hopefully a fellow BCer might have some ideas. I’d certainly like to hear them….
  7. I think it's very interesting how little kit you need for a pro setup these days, that's the outcome of technology, but as you say, you do need the chops to do it. I've been a pro engineer for many years and the results I get out of my little man-cave studio are as good as anything I used to get from pro studios except for the drum sounds, because, like you I don't have the space to record acoustic drums. Decent drum programming is ok for some genres, but a properly recorded skin-smacker still sound the dogs on rock and the like. I can record, programme, edit and mix to pro standards in a system that is a fraction of the cost of a major console and multi-track set up. Songwriting becomes easier too, my guitarist writes in Logic, chucks it into the cloud, I arrange his work and add bass and synth parts, throw it back, he sods around with it and back and forth we go till we have something we're happy with, then I'll string some vaguely coherent words together and chuck those on. We'll use the Drummer plug-in in Logic generally, or a loop for drums. Then we'll get our drummer into a rehearsal room for a few days, and see what his input does to arrangement, groove, tempo etc, often his input will result in rewrites, which is a good point to assess where a song is. Once we have a version of the backing track we're all happy with, I'll extract guitar, bass and keys to stems, and we'll head up to Monkey Puzzle for a few days to lay drum tracks into Protools. I'll bring the resultant tracks back and we'll track guitars, bass and vocals, re-programme the synth parts and run a final edit/re-arrangement of the songs with the live drum parts. That then gets cleaned up and prepped for mix, which I'll do over the course of many days as it's all essentially in the box and has 100% recall. This process keeps the input of all 3 musicians, allows for variation in performance and the ability to track to live drums for feel and groove (I have extracted groove templates from live drums to lock loops down many times, which works very well), and results in songs that retain feel and spontaneity whilst allowing for the raft of technique us engineers love so much. Sure, I've put money into the studio, but no more than many people put into serious hobbies, and a lot less than some, and the results are excellent, but I've 30 years of experience behind me that ensures I get those results. No DAW or plug-in or synth is going to give you those results without the skills sadly.
  8. Should be OK for postage on this one... 😁👍
  9. This post cannot be displayed because it is in a forum which requires at least 1 post to view.
  10. You've hit the age-old problem of Eminence uprights only having OEM spares, haven't you? Given the small size and the unique, slightly asymmetrical shape of the bridge's profile (as seen from the side), I think your best choice would still be to stump up for Gollihur's offer, which they assure us is absolutely going to be the correct shape and height. The 'wrong' distance between a replacement bridge's feet may bend the the top of the bass out of shape, depressing the f-holes, if the new bridge doesn't apply pressure in exactly the same places as the old. The bass bar (obviously) and the soundpost (unusually) are not adjustable on the Eminence, at least not on mine. I think having a UK luthier hand-make a bridge that's identical to your old one would probably end up costing even more than buying from Gollihur in the first place. But perhaps someone here has done this before, or found a viable source?
  11. Bought an EBS Multicomp from Lee. The pedal is great and arrived quickly, well packed. Lee was a pleasure to deal with - cheers 👍🏻
  12. Are you referring to this place? If so, it brings back some funny memories of this forum a few years back...
  13. I was going to say Stingray. I’m back into ‘Ray fold again (albeit a short scale) and it really does fit anything, not always perfectly, but close enough. Nigh on 30 years ownership is impressive around these hallowed halls, well done, Sir. Ahem… Yes, it is.
  14. The fretboard is bound and as it's 100 year old oak it probably wouldn't survive the process. I'm only going to buy one that stands a chance of fitting. Someone here did the same on a bass so I'm confident that it can be done.
  15. Dan kindly dropped his super cab of at mine,What a ⭐️
  16. Line 6 Variax bass (second-hand). Models vintage Jazz, modern Jazz, Precision, Stingray, Flea bass, Rickenbacker, Danelectro, Hofner violin bass, Gibson Thunderbird & EB-2D, MTD 535, Warwick Thumb, Alembic, Steinberger, Hagstrom 8-string, Hamer 12-string, a couple of acoustics and a couple of synths.
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