Buddster

That's classic 😍

Beat the Clock. Sparks

Shot by both sides. Magazine

I was 18 when Too Shy came out. In tribute to Nick I had someone put beads in my hair. It was not a look I carried off well! I'm still embarrassed by it to this day.

My ding-a-ling. Chucky B

Flash. Queen

Inch Worm. Danny Kay

Up town top ranking. Athena and Donna

Fog on the Tyne. Gazza

Yes, i have a set of black ones on another bitsa, but these are genuine fenders so kinda wanted to keep them on. But you're right, the black ones would look good.

Took a standard Squier CV 70s bass, changed the scratch plate to plain black (ie no white middle), changed the control plate to black with black screws all round. Added a black bridge, black strap locks and changed the pickups to Augilia. Finally changed the knobs to more modern ones. I've also taken off the gloss finish on the body, plus I sanded back the neck and oiled with burnt linseed oil.

Night Clubbing. Mrs Graaaaaaaacce Jones

"almost exactly 50/50“ 46% to 54%. Is he Donald Trump in disguise? For what its worth I've always heard it as a mistake. But 🤷

Just bought Simons Delux Jazz. Everything written above is very true. Great to deal with hassle free. Nice to have a chat and meet a fellow BCer. 10/10

Roadkill. The 1975

Thanks for pointing that out. I'd not noticed that. It does help reduce the bass level a bit. A basic graph eq would come in real handy when playing along with tracks.

And at least enough to declare to the tax man

Gone Fishing. Chris Rea(l) (just pipped by kevin. This was to Real people)

Funky Chicken. The Goodies

I can assure you that is most definitely not always the case. Many hours of dropins can testify for that! Don't get me started on singers! 👉🤐👈

I can't answer from a professional bass players point of view as I'm not one, but I can give experience as a professional studio sound engineer (in a previous life) who's had the luck to have worked with some of the best musicians (including Rhino and funnily enough Mikey Finn from T Rex!). And they all had one quality in common. Their ability to leave their egos at the studio door. Nobody wants to work with a premadonna. As it's been mentioned above, the ability and confidence to get on with people is very important because walking into a session full of other musicians /producer /engineer etc is very daunting. Being a professional is not the same as being professional. Turning up on time, having gear ready to go and sound good, knowing your chops and being able to play in the pocket. Learn a song structure quickly and listen to what the band/producer wants. Reading the dots wasn't always important (unless it was a complete band + orchestra setup) but knowing scales certainly was. The need for a session musician also varied. A sax player for instance would be expected to solo well, a drummer be rock solid, singers to harmonise for backing vocals etc etc. Unfortunately, most bass players were used to turn a synth bass line into one with more feel. Fortunately, I never had to record a bass solo! Plus luck and conections. I thought the section in the Marcus Miller interview with Scot Devine (posted on here) where he talks about being a session player was very interesting.

Garbage a couple of years back. The band were great, but the venue got changed to Bristol City football club. Which was basically a long corridor under a stand. I had to stand at the back (which felt like 100 yards away from the stage), and thankfully I'm over 6' because if I'd been any shorter i would have spent the whole evening staring at someone's back. The sound was so loud it was painful and so echoey due to the concrete walls. I'd waited years to see them i was so disappointed. And the worse part was, being a Rovers fan, I had to spend the whole evening at the City ground!

Turning Japanese. The Vapours (i think we all know the connection 😏)

With my live engineers hat on, I'd prefer 2 separate di's to be able to mix foh as needed (and adjust to the room/venue), and supply you back with suitable foldback levels for you and the band. If you send me one di, well that's your responsibility and I will tell the band to shout at you and not me if it's wrong (much like a guitarist that hasn't matched their pedal board sounds). With my bass player hat on, I'd rather send 2 di's and trust them to have control of foh (and adjust to the room/venue) and take the pressure off me having to match levels on stage.