ezbass

If left in close proximity like that, they'll breed. They're not to be trusted.

Now, if Jens had just done the colour swatches on the body and left the pickups and fretboard as normal, that would work. A real example of less being more and more being so much less.

Great intro. P bass with a pick for US punk? What’s not to like? Those Tidepool P basses are so cool, I’ve come close to buying a mostly unnecessary one of those on more than one occasion and I still keep looking (I think they look even better with a tort scratchplate, YMMV).

Papa’s Gotta Brand New Baguette - James Brown

Appreciate the clarification, thanks. 👍

I find it has a slightly different voice (pun unintended) too. But, you’re right, it is a supercardoid design, just like the standard 58, the SM57 and my old D5 (and many others of course).

But you did do it. No one can take that away from you.

I used to use an AKG D5, when I was doing backing vocals. When I joined a band where I was singing lead, the FOH guy (who I know and respect) told me that my mic was doing me no favours. My immediate thought was SM58, however, following a bit of research, it seemed that a straight ahead SM58 wasn’t the way forward, but an SM58 beta was. Bought one and I’ve never looked back. The right mic for you can make a big difference, not only to you vocals but also to your confidence, which inevitably improves your vocals further.

You guys are living the dream, kudos.

Yeah, I realised it wasn’t all about me and the recordings were very good indeed and if I hadn’t heard the original rough mix, I would have probably been OK with it. Still irritating, nonetheless.

I think this is key. I had a comp years and years ago, but moved it on because it didn’t do anything I particularly liked. It wasn’t until I applied particular settings to a recording (outlined in one of my earlier posts) that I heard something really useful and wanted to replicate that in my live sound, which I was fortunate enough to manage. Oh, I feel that pain. I did a recording of two tracks with a Ric 4003s and in the rough mix it sounded great, gnarly and definitely a Ric. However, when the final mix was handed down, it was just a generic bass sound, all the character had been removed. This wasn’t by compression, but by EQ, all that nice gnarly midrange had been scooped out. I was not happy and it still stings today. Ironically, the producer/engineer is a bass player, go figure.

Likewise. I still have lots of old charts from deps I’ve done and bands I’ve been in.

Hickory Wind - Gram Parsons

Is There Anybody Out There? - Floyd

I follow Phil Conrad and checked this out when it was uploaded. I think dialling in distortion was a mistake and making them as similar as possible was the way forward. I’m surprised he didn’t include a VTDI and a Bassbone too. I didn’t listen with headphones (unlike Phil’s guinea pigs) and the differences in the mix were minimal, except the JHS and Ampeg (because of the distortion) and the Pyle (midrange spike), this was also pretty much the case soloed. The size and weight of the REDDI and Zod make them for studio use only IMO. The Noble has such a reputation that the price is silly (same goes for the Klon Centaur in the overdrive world) and much cheaper products do the job just as well.

Looks like height adjustment foam that has perished.

Time of the Season - The Zombies

An Old Raincoat Won't Ever Let You Down - Rod Stewart

Already held my hands up to this somewhat embarrassing faux pas, I blame Specsavers. 🤓

The rust saga seems to be a bit of a lottery, I’ve been lucky with only one spot, which was on a free set.

Nope, no problem at all, or on my shorty ‘Ray. I assume that as the capstans are of the thicker variety, there is less strain. When I’ve removed them from my long scale basses that have skinny capstans, I have had breakage there.