Buddster

That's a shame Neep. Was hoping you'd bring down a box of Butteries! As well as your wonderful collection of bass ofc.

To answer my own question "Vintage: Denoting something from the past of high quality, especially something representing the best of its kind. Antique: Having a high value because of age and quality. Classic: Judged over a period of time to be of the highest quality and outstanding of its kind."

Where is the division between vintage and classic? And why is it a Squier Classic Vibe 70s Jazz but a 70s Fender jazz is called Vintage 🤔

I bought this '94 jazz off here from Ramsey777 as I was looking for a project. It was originally red and had been converted (very well) to have P pickups. I wanted to add a PJ to the collection but with jazz neck/body, so really glad this came up. Stripped the body back and resprayed in Gulf Racing blue. Added a new white pickguard. Really happy with the result. Took my time setting it up how I like it and plays and sounds great.

Just had one made 2 days ago from https://tinytone.co.uk/ Excellent service, def recommend

I stand corrected

Anything that has a browser, which is any table/phone I guess. With our Soundcraft we've used iphone, ipad, android phone and tablet, Amazon fire, Apple laptop. You get the drift. I'd recommend at least a 10" screen as it can get fiddly using your finger on a small screen. But as there's no processing (it's just a browser window) you don't need to go expensive. As has been mentioned, the wifi can be a bit intermittent so we run a separate router.

Personally I'd say 10 is too many to learn properly. Is the singer going to learn to sing each song and memorise all the lyrics? Or busk it and read them as he goes?

If it's not too loud to damage your hearing, put your head down there and listen. It might even be a foot or 2 away. Put the capsule where it sounds best. Then put damping materials to get rid of any room sounds. But that's in a studio. Agree with others to put it close in a live situation.

Yes, always great to hear a good brass section on the track, really adds something. Worked with the Phenix Horns once. That was a blast!

I once recorded a cover of Low Rider. The producer made the (quite expensive but very good) brass section play so tight that the record company boss asked why he'd spent so much money on a kazoo!

Sorry BigRedX, I usually read your posts and agree. But not this bit. I worked with many signed up/chart bands bands in the 80/90 who weren't up to scratch in the playing dept and they certainly weren't replaced. There would have been a mutiny if they had been. No, it was a lot of hard work and drop-ins to get a decent take. And a lot of late nights. On one single, a vocal consisting of L Vox, double track, and bv's took 725 takes. I knew what was coming so decided to count them up. Admittedly the producer was a bit ott, but still.

😂. You know, i never noticed that

Well this is embarrassing 😵‍💫 My excuse is I was learning it for the band Honest!

I only worked on 3 or 4 orchestral sessions, but when i did it was full on concentration (this was for pop music eather than tv). Everything was set up the night before and line tested. Back then (maybe still?) a MU session was 3 hours and if you went a minute over, you'd be charged another 3 hours for the whole orchestra. Those playes knew thier dots! In fact on 1 session, Mo Foster was the bass player. As an assistant, I was ment to open the studio at 9 to let everyone in for a 10 start. I was late leaving the house and London traffic made me even worse. All I could think about was 30 musicians waiting outside the front door and me getting the blame and the money it would cost. Thankfully, one of the other assistants happened to get an earlier than normal train into work and had opened up. My relief was immense, but it tought me a lesson about being on time.

👍

Nice looking studio 👍

Yeah we're local, Nailsea based (sw Bristol). Interesting they use a promotion company. I guess it guarantees a quality band

Quite so. A good tape op would write out the song structure with timings and if they were clever work the rough tempo (or find the time for 5 bars, to allow for take up) and add that to the preroll so when doing over dubs the tape would always start from the same place so the musicians always knew where it would start from. Taking pride in doing that right was a pleasure

Just make a note on who takes the longest to get thier sound/lay down thier parts. Just saying...

So we're having a band outting into Bristol center next Saturday as a scouting mission looking good pub gigs to play in Bristol. We're a covers band playing a mixture but mainly danceable pop/pop rock from 90s to current. We've done quite a few gigs outside town, but it's time to break the big time! Anyone got any recommendations where to have a pint and see a band?

Classic band mixing, everything louder than everything else. More than once I've had the situation (as engineer and assistant) where the mix sounded great and about to be mastered, the vocals got turned up, so the the guitar goes up, then the keyboards and then 6 hours later you're walking out into the morning sunshine thinking what the hell just happened!

That's an old one. When using SMPTE to sync 2 24 track machines you soon leant to run from 1:00:00:00 because if you went past 00 the slave machine would spin off backwards trying to make up - 24hrs! I used to work in a studio that ran 3 Alesis ADats in sync. Great in theory but I recon Alesiscused studios as thier R&D dept. Quite difficult to explain to a band at 2am that one of the machines has chewed up the tape and lost the days work! I think for a new band to studios it's quite difficult to understand that playing live and recording in a studio are very different animals. What's recorded is there forever, mistakes and all and it take time to get it right. Otherwise you'll be listening to those mistakes ever after.

Ah, apologies, that wasn't quite clear. Yes, the guy was wrong. Studios are a very odd environment if you're not used to it. I've worked with many new to studio bands as well as seasoned pros. Both will try your patience! It's a very intimidating place to walk into first time and for the engineer /producer social skills are sometimes more important than technical skills.