I feel like he watched a documentary about Martin Hannett and decided that that was the personality type to go for as a producer/engineer.
Not that there’s anything wrong with that.
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That sounds really exciting, @joergkutter . . . 
I’ve been reading through this thread all along, and wish you and your band a great time in a studio environment. All sorts of possibilities could open up for you . . . 
Cheers, Joe
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Thanks, @Jazzbass19 - it is very nice to have this opportunity; if nothing else than to get something recorded as best as possible. In the long run, we are not looking for record deals, though 
Also, it might be a few weeks/months before we do this (before the summer though), but I will report back here for sure!
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@joergkutter Congratulations! What an awesome opportunity.
As to the Spectre Sound Studios stuff, it is summed up in these two short videos…
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Thanks, @eric.kiser, and thanks for digging through the aforementioned collective noun for me 
Love the Polish (?) subtitles 
EDIT: well, after having listened all the way through those videos, I am about to sell my bass and get some tattoos… holy guacamole, the abuse this guy dishes out… never felt so offended since joining “Whiny and the Snowflakes” as their lead bass player But, yeah, I get his points 
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Well, can’t we all get a mix onto some 'phones instead??
That is what I meant by “live” - there’s got to be a starting version, even if it gets “erased” one instrument at a time afterwards. Or, couldn’t you use, e.g., the drums right away from this “raw track”??
Anyway, maybe I should first carefully watch the videos that @PeteP suggested and @eric.kiser linked before pestering you some more 
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I highly doubt of it. technically it’s not impossible but imagine what it means about the drum … your drummer must play in another room and you must all have a mix of the multiple pickups from the drum. complicated. it’s much more logical to just play live and loud. but it’s not impossible, it also depends on what the studio is used to.
well it will be another advice, I’m sure you’re already aware of that but I will say it anyway : the guys on the studio have their methods, you can assume they know what they do and if they recommend something to you, you can just follow the instructions. there are tons of recording methods, at some point someone has to choose. if it’s the studio guy, it’s good for you 
oh you’re making a confusion I think. it’s possible (and very popular in the rock world) to record live, really live : everyone plays at the same time and every instrument is recorded at the same time. then the tracks are mixed.
the opposite is recording individually track by track (/ instrument by instrument) but it does not mean that you won’t have a pilot track as a support ! you have to start somewhere …
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just thinking again about your bass tone, because you mentionned you use a Bassman and a Markbass models. those two things are pretty different ; not at all the same generation and the same philosophy of amplification and sound. here again maybe you can just ask the studio guys what they think, if one of those two tones would work better in the mix / be more coherent with the songs.
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Much appreciated, @terb - this just shows that I really don’t know what I am doing… I am following what I think sounds OK to me, but I am also prone to changing my opinion about that every other week
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… yes … 
but that’s how we all learn ! that’s fine.
well it converges somewhat with something I already said in the past : with the modeling technology, it’s not really the modeled amps that matters but the final result. the “base amp” (the amp that was used as a model) is more a starting point. for exemple : in my case if I have to choose a model, I will choose an Ampeg or a Gallien Krueger because I know those things work for me, it’s some kind of shortcut but it doesn’t mean I could not like another model. I guess you don’t know exactly what a Bassman or a MarkBass is, and you just found a tone you like and that’s perfectly fine what I wanted to say is that those two tones won’t probably sit the same way in the mix and in this case, that’s what’s important !
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Actually it occurs to me that if Joerg is having trouble sounding clear in a mix it might be worth checking to see if the GT-1B or Rumble 40 has a G-K amp model
(Or just let the sound guy suggest a fix)
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I think an Ampeg is easier to work with, the midrange punch will always work in a rock context. the GK has a wider bandwith, it’s nice and it sounds very good but it’s a bit less straightforward I think.
but yeah I totally agree, the sound guy will know anyway and suggest the right thing, that’s not a problem really.
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Well, calling what we have in the rehearsal room a “mix” is perhaps a bit too nice 
In fact, they both do, and I noticed the “punchier” sound of these models, and am experimenting with these as well! Good call!
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yeah at some point we’ll have to define “punch” an Ampeg will bring this in the midrange and a GK will bring this in a higher frequency range. I love both … but a GK is in my opinion more difficult to tame, and the higher range won’t do much in a mix (because the guitars are here). but this is the same sound family anyway, agressive and punchy tones. rock tone, that’s what I like
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It’s a bit like discussing wine reviews, I guess
Our previous posts crossed somewhere in cyberspace, so I didn’t see your Ampeg comment before I hit the reply button on my G-K remarks…
Wow, so much to learn…
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yeah 
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Another bonus for an Ampeg model for you is that they are generally warmer sounding and would fit your style a bit better.
Plus if it’s an accurate Ampeg model it will likely have a toggle for “ultra hi” and “ultra low” to add some definition at the ends
Me too!
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Yes, while the G-Ks are “punchier” in my ear, they are not necessarily what I like most. I would agree with you that “warmer” would be preferable.
Ah, I need to check this out some more… this is simply a whole new world. I mean, some models have a setting called “presence”??? Now what is that? I am not even sure this does anything, lol
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What it does is amp-specific but I think you’ll find it generally boosts the highs and adds a nice bit of bite to the tone.
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it’s like an additionnal EQ band, higher than the high of the normal EQ (well in fact there would be a way more technical way to explain that, I won’t do that now), and it’s what can give a very agressive tone. just to give an idea if you’ve listen to my recent covers with the Bass POD Pro, I use the BDI21 in front of the preamp and I have the presence set to about 8/10. with the bass and middle at 5 on the preamp, and the treble at 6-7, the base sound being an Ampeg SVT-VR. all that played with a pick. it’s the war zone, were the muting technique is like a survival skill 
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