Tim Commerford. "Tim's Basses Tim only plays passive Fender Jazz basses now. On the first Rage album he used a Musicman Stingray with the pickguard removed, as show here... His main gigging bass in Rage (for standard tunings) was a natural Jazz Basswith the pickguard removed. This bass is most well known for its pickups, which he wound himself, and have been said to be the mystery by his eleusive tone. He smashed this bass at the MTV awards (the same night as the scenery climbing incident, some claim he had a little too much to drink that night!), however, he salvaged the pickups from this bass and they are now used in one of his current touring basses. Tim's current gigging basses change quite often. On the current tour he is using the following Jazz Basses... - Sunburst Finish - Tuned EADG (standard) - Black Pickguard - Maple Neck This bass currently seems to be one of his main basses. - Black Finish - Tuned BEAD - Dark Tortoiseshell Pickguard - Rosewood Fingerboa...
Notat aici ca să nu se rătăcească! ( https://doublebassblog.org/2017/07/record-double-bass-studio-low-low.html) ... How to Record a Double Bass in the Studio: The Low Down on the Down Low By Doug Beney Recording the double bass — aka upright bass — takes more than throwing up the nearest mic in front of an f-hole. On its own, the bass isn’t overwhelmingly loud, particularly when compared with amped guitars and drum kits. In the early days of rock and roll, when the primary playback system was an AM car radio, it didn’t matter much, as long as you caught some sort of low-frequency, rhythmic thump. The fundamentals of the bass were below the ability of a tinny car speaker to reproduce anyway. Of course, in those days, electric basses were in their earliest evolutions, so the engineers of the day may have been stuck with uprights simply because there wasn’t a Fender Precision in the neighborhood. Today, if a double bass shows up on a session, it’s a deliberate choice ...