Over the last decade, Chris Caccamise, along with friends and collaborators, has grown The Bass Channel into a force on YouTube, posting gear reviews, tutorials, and song covers, all with a low-end focus. Chris talks bass gear, his dream bass, modding a precious Rickenbacker, Metallica, and more in our interview!
And if you’re on the hunt for some new guitar gear and have found Chris’ videos helpful, why not shop his personal gear list on zZounds? Creators earn a small commission on gear sold through that link, so it’s a great way to show your support! Plus, you get all the zZounds-exclusive perks like interest-free payment plans and fast, free shipping!
NOTE: This transcript has been edited for brevity and readability.
zZounds: First off, I wanted to get a little bit of a sense of your musical background — your career before starting the YouTube channel. Can you tell me about bands you’ve been in?
Chris: Nothing notable that anybody would recognize. But I did—I mean, I started playing drums when I was 10 years old. And to date myself, that was the year 2000.
zZounds: Oh cool, yeah, we’re both ’90s kids.
Chris: Yeah, so pretty much have played drums the whole time, with minor hiatuses here and there. I picked up guitar shortly after, around 13 or 14 years old. Just because, you know, as a drummer, when you learn “Back in Black” or something and you show, “Hey look, I learned ‘Back in Black’!”—cool man, but you also, you know… So I wanted to learn the notes and be able to play a recognizable version of those songs. So I started playing guitar.
I wrote songs a lot from age 17 through probably 25. Most of them probably aren’t good, but I did it. Played with various local bands that were kind of originals. I’m originally from Southern California, so we’d play around Ventura, L.A., Santa Barbara, etc.
The channel came about because my cousin and I were in a band together—he played bass, I played guitar, sang, wrote songs, and we had drums. He really wanted that Geddy Lee biting, aggressive bass tone, and we just didn’t know how to get it. We were young—he’s seven years younger than I am, and I was 25 at the time. So, you know, naive. Didn’t really know where to look, how to get it, who to ask, or what to ask. That obviously led us to YouTube.
We knew Geddy Lee played, funny enough, an Orange amp, so we looked up demos of the Terror Bass. The only videos we could find were just dudes kind of thumping. It was like, that’s cool, but that’s not what we want. And it became like, “Man, one day we should start doing this.” And then you forget about it like you do, and you continue playing and writing songs.
Then the channel actually got kicked off because we were looking for a fuzz pedal for him. We went to our store, Instrumental Music at the time, and were trying the EHX Bass Big Muff and whatever else. And again, through naivete, we picked up a Way Huge Swollen Pickle, plugged it in—and that was the one. Oh my God, that’s the one. And then—wow, I didn’t realize you could run bass through a guitar pedal. I wonder how many other people don’t realize that too? Maybe that video thing we talked about a couple years ago…maybe we should actually do that.
So we just set up in his bedroom, cleared all his stuff out, set up a camera, a Shure Beta 52, a little amp, and we made the Swollen Pickle demo. No idea what to do, no idea what not to do—but just an idea of: here are the things I dislike in YouTube videos at the time. Because 2016 was a very different landscape.
There were a lot of people who’d be in their bedroom, in pajamas, on their bed, talking to you for 15 minutes about this thing, and then you’d get this horrible sound sample at the end that lasted maybe a minute. I knew I didn’t want to do that. I wanted to be like, “Yo, what’s up—today we’re checking out [pedal name]. Boom. Tone.”
That’s one of the hallmarks that really stuck. We still open videos that way: “What’s going on? Today we’re checking out…”—and then cut to tone. So over all the changes we’ve had in the last nine years, that’s the one concept that’s stuck.
zZounds: I would say you were ahead of the curve with that—starting right away, getting right to the point. Now it’s more important than ever, I feel like.
Chris: I like to think so, yeah. Now you see a lot of stuff open with five minutes of tone, and I don’t want to do that either—it gets a little like, “Come on, let’s go.” But yeah. So anyway, to kind of wrap up that question: I played locally, played drums, played guitar. I only started playing bass because of the channel. I thought, “At some point, I’m going to need to be on this,” so I learned how to play bass and not look like a guitar player playing bass—because that doesn’t work. That does not cut the mustard.
zZounds: Yeah, I know many who’ve done that. That’s interesting. And another thing you said—you weren’t happy with videos where they’re just playing generic stuff in demos. I get that. Some of the guitar creators we’ve talked to say they’re tired of hearing blues licks no matter what the guitar or pedal is. Sounds like a similar kind of thing in the bass world?
Chris: Yes, totally. We’re guilty of leaning a little heavy into the rock stuff because that was the inspiration behind it. You had professionally done videos from Guitar World and whoever else, but a lot of the time the bass part was just this thing they kept in the corner—they’d bring in their thump-and-pop guy, he’d do that for two minutes, and then they were out.
Back in 2016, there wasn’t a lot of rock or heavy metal in the bass demo world, so we kind of brought that in. Now you can’t move without seeing a rock distortion bass channel, it seems like.
zZounds: Yeah, it is totally different now. You mentioned metal—and you have Josh, who I’ve seen does a lot of your metal and thrash videos, covers of Metallica songs and stuff. How does that work? Do you have different guys that are experts in certain genres, and you assign videos to them?
Chris: Yes and no. I’m responsible for every video in some capacity, always behind the scenes. But yeah, we met Josh in 2017 and it became immediately apparent this dude is a freak of nature—we had to have him involved somehow.
We have a recurring cast, I guess you could say, of about 12 people. Could be a little more, could be less, but around that number. It’s not so much that everyone specializes in a genre—though Josh definitely does. We call him Thunderfingers. Everyone else can do a little of everything.
It becomes less about genre and more about playstyle. One guy may hit really hard, another may be better at slapping. I’m a little better with pick dynamics—because, you know, guitar player. I’ve learned to hide some of the guitar stuff, but my pick dynamics and consistency are better than anyone else on the channel, so I hold that down. It’s just nice to have a variety of playstyles and feel.
zZounds: You mentioned Geddy Lee earlier—I don’t know if that’s your answer—but since you started off with drums and guitar and took on bass later, was there any bass riff or groove that really hit home and made you want to get deeper into it?
Chris: Let’s see. Metallica is my number one band—has been since I was about seven years old. So, you know, obviously “For Whom the Bell Tolls” and that kind of thing. But the bass riff on “King Nothing” was always fun. That’s actually… yeah, that’s the sound.
I’d say Geddy Lee was probably the person that got me excited about bass specifically—even though to this day, most of his stuff I cannot play. But listening to it—his tone, his attack, his melodic sensibilities—the way he does runs that complement Alex’s guitar… he’s probably my number one bass-specific influence. Whereas Metallica is more of a general stylistic influence.
zZounds: Yeah, I definitely hear that in the videos. That Metallica influence comes through—that’s awesome.
Chris: Yeah, my entire house has Metallica posters. It’s pretty apparent to anyone who comes over. Like, “Have you heard of this band?” Yeah, they’re okay.
zZounds: Favorite bassist? I think I know, but—of the three in Metallica?
Chris: Yeah. You’ve got Cliff for the creativity and the way he would write — though I’m not a big fan of his tone. Huge fan of Jason’s — just where he fit in the orchestra of the band. And then with Trujillo — technically, he’s probably the most proficient. But he’s also a little underutilized in what they’re doing.
Particularly on the last two albums—the bass parts, there’s not much there outside of a couple songs. Generally, it’s a lot of holding down the low E. Kind of an AC/DC approach to bass. Whereas Death Magnetic was insane—riffs everywhere, and the bass, to be fair, was mostly following guitar. But when you have riffs like that, I don’t know what else you’re going to do. So to his credit—if it works in the grand scheme of the mix, in the whole orchestra — cool. But they’re just not fun to learn, the newer songs.
zZounds: Yeah, that’s a great point, great evaluation. I feel the same way. I’m not as deep into bass as you, but yeah — I definitely hear you. In the earlier days they were more adventurous with tempos and all that. I think about “Orion,” with all its sections.
Chris: Yeah, but I don’t think they get enough credit post-St. Anger, or even really post-Black Album. I go kind of insanely deep with them. When you listen to some of the riffs on Death Magnetic, or Hardwired…to Self-Destruct — you can pull those riffs out, take the production aside, and you can drop those riffs into Ride the Lightning.
I mean, there are riffs on Hardwired… that sound like “Escape” or “Trapped Under Ice.” They’re still writing in the very same way. I mean, maybe some of the bass parts have changed and mellowed out a little bit, but yeah, the riff sensibilities are exactly the same. Now, you could use that also as a critique or a criticism—how many times can we use those notes from “Enter Sandman,” because that’s really what all their riffs are: G, A#, you know? But when they try to branch out and do something like Load, Reload, or St. Anger, people get all pissed off about it. So, okay, we’ll go back and do the old-school thing. Well, now it sounds a little too much like…you can’t win, you know?
zZounds: I saw in one of your videos you talked about how your opinion on gear changed. Specifically, you were talking about EMGs and how you used to feel about them. I think because you grew up near the Seymour Duncan factory or they had a big presence in your community, you maybe looked down on or just didn’t vibe with EMG and active pickups. That changed over time. I’m curious—have there been any other pieces of gear or technology like that for you, where your opinion changed?
Chris: Oh, I’m sure there has been. At the moment, I can’t think…oh, actually, yes—the P-Bass. When I was in my teen years—and I’m sure you can probably relate to this, I think everyone can—when you’re in your teen years and you want to start a band, you want to be the guitar player. But we already had three, so you had to go play bass. The only bass players I knew were the kids who were like, “Okay, well, I guess I’ll play the bass.” There was this kid that had a Precision Bass, and he didn’t know how to dial it in. He didn’t really know how to play it well, so that always stuck in my mind as, “Oh, that’s the cheap bass nobody wants to play.”
Then again, going back to Geddy Lee, the Jazz Bass was like, “Okay, so that must be the bass that serious players use.” The P-Bass is like the cheap starter. That has changed for me a little bit. Obviously, I don’t really need to explain why maybe the P-Bass isn’t this negative thing that I thought it was. I think that might be the only thing. I’m sure there’s something else, but I don’t even know how many pieces of gear I’ve looked at in the last decade, so it’s hard to remember some of the specifics.
zZounds: Absolutely. Something else you talked about in the video was the Anagram—the new multi-effects from Darkglass—being possibly the only bass pedal you might need. I’ve seen it here; our customers really want it. It’s caused a huge splash. I had the thought of, why hasn’t this been done yet? Sort of like the Helix ecosystem—why hasn’t that shifted over to bass yet, at least not as successfully or as streamlined as Darkglass seems to have done it. Do you feel like that’s the case? Are there other multi-effects that have really caught on for bassists like this one has?
Chris: I mean, I know there are people who use the Kemper, but that’s a little bit of a different thing. There’s a different mindset, a different approach to it. I would say the closest would probably be the Quad Cortex, right? Because Darkglass and Neural are kind of related. Outside of that, maybe the Helix, which I don’t personally have any experience with. But yeah, it doesn’t seem like bass players have gravitated toward the Kempers and the Helix quite in the same way guitar players have.
So seeing something like this that, in my opinion, kind of combines an iPad with a direct box—exclusively for bass, or at least heavily pushed toward bass players—is not only really cool, I’m kind of surprised it hasn’t been done or attempted yet. I’m excited to see what updates come next because there are some effects that are missing. Like, there’s no phaser. They put delay and reverb in there, which is cool, but how many bass players are using delay? Maybe they could have not had three different types of delays and thrown a Uni-Vibe or phaser in.
I know that’s offset by the fact that it has an effects loop. It’s like, well, you can just throw your own phaser in. And the fact that you can put the effects loop anywhere in the chain — it’s rad. I think it’s really cool.
zZounds: I feel like only in the last 10 years we’re kind of in this era where influencers and YouTube creators — not only them but their followers, their fans — seem to have way more influence on brands and what they put out than ever before. Your review video could mention something, and in the past, before YouTube, you would just be speaking to your friends. Now companies hear it. Maybe it leads to a firmware update or the next product in the series incorporates this or that because it was mentioned on social media. Do you ever think about that — having this platform, and what you might influence? Not just purchases, but what companies actually produce?
Chris: I used to think about that more a couple of years ago, and I think I set my sights a little too high. I’m a big fan of Gibson instruments. I know people don’t like certain things about Gibson — in more of a for lack of a better term, in a political sense, some of the business decisions, what they do behind the scenes, ethical reasons. That’s fine. I don’t touch on those things. It’s none of my business.
But I like their fretboard radius, their finishes, a lot of what they offer. In 2023 I was kind of doing a series where I geeked out on Gibson basses. I would mod some of them in the attempt that maybe Gibson would see it and be inspired, like, “Oh that’s cool. It got a decent response, maybe we should do that.” So far it hasn’t worked. Gibson is way more gigantic than I am, so I kind of gave up on that.
But in terms of us inspiring others — I know it happened once with Morley pedals. That was kind of cool. I didn’t expect that. The president of Morley actually called me. In October, we did this thing called Wah-ctober where every day we did a different wah. The background was just the boxes of every wah that we had. You saw Crybaby real big, and then this box said…”morley.”
He watched every single one of them—or at least a couple. I don’t know how much he was stroking my ego, but either way, he said, “You know, after watching those videos, I noticed we need to change our logo on the box because you can’t see it next to the Crybaby.” He was thinking about people at Guitar Center on the little shelf, and you can see Crybaby real big, but you don’t see Morley. That was one where I had a hand in changing their packaging, and that made me feel pretty good. That was cool.
In terms of influencing the viewer, it kind of makes me wildly uncomfortable because I never got into this to be an influencer. I never wanted it to be about me. But to be a YouTuber and make videos of yourself, you need a degree of narcissism. It does make me feel good that people know my name and care what I have to say. But it also terrifies me. When you only have limited time with a piece of gear, it becomes difficult to say something substantial and honest about it, both positively and negatively. They send it to you, the release date is in two weeks. You’ve got to get the tones dialed in, the B-roll right, all of this stuff. Now when it finally comes time to say, “What do I think? Do I think you should buy it?” I don’t know you. Your ear is probably different than mine, your play style is different, your rig is different. It’s hard to give that recommendation.
Maybe I’m in my own head, but if I look you in the eye and say, “Yes, this thing is awesome. You’re going to love it,” and then you get it and don’t love it, just the way some people are right now that comes back as suddenly I’m a fraud or a shill. Like you think I got paid $10,000 to lie to the public. That’s never happened, and it never will. But with great power comes great responsibility. I don’t know if I want all that. I just want to be a guy who thinks this stuff is cool. Here’s what it does, here’s what it sounds like, it’s blue, it’s about this size, and it works like this. I’d rather you tell me if it’s going to work for you, not the other way around.
zZounds: Totally. You’re giving them the chance to hear it, and not only hear it but hear it from somebody they know—presumably someone they’ve been watching for a while. So they have a sense of who you are and can make their own decisions.
Chris: Yeah. I get accused a lot of making ads. “Oh, this was a nice ad for [insert whatever].” I’ve been struggling with that recently. When I got into this in the beginning, I wasn’t on camera. I didn’t want to be on camera. It was my cousin, the bass player. Then his life went a different direction and he’s off doing other things. It kind of forced me in front of the camera where I didn’t want to be.
But I didn’t go into this thinking, “I want to be an influencer, I want to be famous, I want people to know my face and name.” I kind of just wanted to make ads. I like making videos and I like gear. The only way I knew how to do it was to make technically an ad, but not like, “Oh my god, you guys, go get this right now!” No, I just want to be thorough on the specs. I want my B-roll to look really good. I want it to beTV worthy, because that’s what I knew how to do. I still don’t feel like I have my finger on the pulse of the TikTok generation. I don’t know how to cater to them. I’m just going to continue doing what I do. You’re welcome to jump on the train and ride with me, and you’re welcome to jump off at any point if you don’t like it anymore.
zZounds: Yeah. The TikTok generation is a whole other thing. I wanted to ask you—speaking of feedback—and you said like being TV-ready… I’m just curious, has anyone ever said you kind of look like Pedro Pascal?
Chris: No, I get that I sound like Joe Rogan. I hear that all the time. That’s funny, I haven’t heard that one specifically. I did hear one time — kind of a backhanded compliment, but I’ll take it — someone said, “Hey, you kind of look like Chris Pratt if he had to gain a little weight for a role.” And I’m like, “Thanks… I don’t know how to take that.”
zZounds: Either way, he’s a handsome guy, so that’s good.
Chris: Yeah, I’ll take it.
zZounds: You talked a little bit about your experience not wanting to be in front of the camera and then moving to a camera-facing role. Do you have advice for any aspiring YouTubers?
Chris: Quit. No, I’m just kidding. Yes, I have a lot. It’s something I think about daily, non-stop. My first advice would be: know your lane. Identify what it is that you want to do. Are you in it for fame? For money? Because you’re just a nerd who likes gear? Whatever that is, honesty with yourself is the key.
To build on that, I don’t personally believe in following trends. If you time it right and hit today’s trend, you go from zero to a million followers, views, whatever. That feels good… for a month, a week, however long the trend lasts. Then you’re back down. But if you go into it doing it for yourself, you have to have a degree of selfishness in this whole thing. If I’m going to go make a video, what do I want to see?
“Don’t be afraid to make your Load album or your St. Anger album, too. Maybe it won’t be received well, but you’ll enjoy making it and watching it.”
– Chris, The Bass Channel
This is something I have to remind myself. I got too caught up in the criticisms. But make the video you want to watch. When it’s done, I want you to sit down and say, “Damn, that was good.” You might grow slowly. It might take years to get to a decent number in certain company’s eyes. But those people will likely stay with you longer.
Even if you change your style — I’ve done experiments with this or that type of video — I always did it for myself. It wasn’t because it was trending or selling or popular. I’d be lying if I said I never did that, because sometimes you get inspired, but at the end of the day, it’s got to be for you. You’ll probably grow slow, but you’ll grow in a way that keeps a solid fan base who likes what you do.
zZounds: Yeah, the consistency is key, right?
Chris: Yeah, obviously consistency is key. Find your lane, stay in your lane, do what you do best. But going back to our Metallica analogy, don’t be afraid to make your Load album or your St. Anger album too. Maybe it won’t be received well, but you’ll enjoy making it and watching it.
Definitely do those things. Maybe they become a members-only thing down the line. There are so many paths to the same end result that it’s hard to give that much advice. But universally—be true to yourself. Do it for yourself.
zZounds: Absolutely. I just envision this as a big quote: “Don’t be afraid to make your St. Anger.” I love it. Words to live by.
Chris: Yeah, totally.
zZounds: Another thing I wanted to ask—if Gibson or any other brand approached you and said, “We want to build you a signature bass, totally your custom specs,” what would you do?
Chris: I’d have to decide first whether I want to do a Thunderbird or an SG bass. It would have three pickups — they’d be EMG, splitable pickups. Let’s go with a Thunderbird. Three TBTWs, all splitable. Volume, volume, tone, maybe a 3-band EQ.
It’d be painted white with probably gold hardware. I think gold would be sweet on white. Ebony board, 12-inch radius, the rest of what Gibson does on their neck—don’t change it at all. Throw a Hipshot bridge on it, D-tuner, strap locks, move the strap pin up the body a bit. I’ve kind of already made my own signature Thunderbird, almost how I just described it. It’s just got two pickups. But I’d pretty much do that.
zZounds: I like it — it’s almost like a Les Paul Custom but with white and gold hardware, ebony board, binding…?
Chris: Yeah, why not? Assuming they can do it. The Thunderbird construction is wildly different than the Les Paul. It’s neck-through with wings on it. If they can do binding on those wings, that’d be cool. I prefer the construction. My Thunderbird’s a 2019, and when you compare it to the Rex Brown or Gene Simmons — those are set-neck. The back of the Rex Brown body is thicker than the regular one. I’d want to go back to the classic 2019-style Thunderbird construction.
zZounds: I love it. Thunderbirds are sick. I don’t think there’s a cooler bass, honestly.
Chris: Yeah, I did a gig playing drums a few days ago. The bass player, who’s one of the guys on the channel, used the Rex Brown Thunderbird. It looked so slick under the stage lights. I was like, “Yes, dude.”
zZounds: And you truly have come a long way with EMG if you’re going to put them in your signature Gibson bass. That’s good to hear.
Chris: Yeah, it’s not that other companies are bad — good and bad can be subjective. Quality is objective. Seymour Duncan, Aguilar, Nordstrand, Lollar, Curtis Novak — they all make quality stuff. I always forget DiMarzio even though they’re huge. All of these guys know what they’re doing, have passion, use quality materials. I’m not saying EMG is far superior. My friend out in San Diego makes McGrath Guitars. He came by with seven instruments—all EMG except one with Lollars. We played it through an amp. I have to say, those Lollars sounded awesome. They had character, they had vibe, they had mojo, whatever buzzword you want to use.
But it reminded me what I like about EMG. Maybe when you’re alone in a room, EMG can sound sterile. As much as I hate to use that word, it doesn’t have a lot of character to it. But where its strengths lie to me, is that it fits effortlessly into a mix. There’s a slight inherent compression, not a lot of midrange craziness, dynamics are even. Lollar or Fralin or Duncan might sound better in a room, and maybe you’ve learned how to dial them in. But for me, EMG is just mix-ready. Combine that with the mechanical advantages— with the noiseless and all that. It was nice to hear a different tone but also be reminded, this is why I like what I like.
zZounds: Last thing I want to ask—is anything coming down the pipeline? You mentioned the bass cabs you’re doing a video on. Anything else you want to tell people about?
Chris: Yeah, a couple things I’ll have to be vague on. Spector’s got some new stuff coming. They were at NAMM, so I don’t know why it’s a big secret. But they’ve got two new models you might’ve seen at NAMM.
We’ve got more videos coming on the Anagram, focusing on live use. Got a bunch of McGrath stuff coming. Let me look around the studio…oh yes, EMG’s got new models coming—E4W, in Bartolini-size housings. Normally EMG sticks to their soapbar shapes, but now they’re offering this in a new Bartolini size housing. What’s even cooler is that this is a new pickup internally so they’re gonna sound different from anything else they’ve made. I haven’t heard them yet, but they’re here on the table. I’m going to put them in a bass routed for Bartolinis. And then, much to some viewers’ dismay, I’m going to fit them in a Rick. I always said “RickenBACHer,” but got shredded for it—it’s “RickenBACKer.” I’ve never heard anyone say that until the comments.
Anyway, I call it the Rick 4003. Going to pop them in there. They’ve been shifted up a little from typical Jazz Bass positioning, so that’ll be fun. Some purists will be mad. Some people like me will be excited. And just to bring this full circle — I’ve been modding that Rick bass for two years with different stuff just for fun. That’s making a lot of people very upset. If I was smarter, I’d say “ooh let’s not do that. Let’s keep the Rick all stock to keep people happy.”
But no, I want to see what else I can do with it. I’m throwing in Thunderbird pickups, making it active, adding a 2-band EQ, all EMG. A lot of people are deeply offended, by what I’ve done to my own property. But I’d rather make a video of, “here are some things you can do.”
I’m not saying, “Guys, you HAVE to check out this EMG — it’s the best.” It might be the worst decision for you. I’m just showing options. It’s up to you to say, “Hell yeah,” or “Ew, gross.”
If people leave mean comments, I usually say, “I’m begging you to unsubscribe.” If that’s what you bring to the table, this relationship isn’t working out for either of us and maybe it’s time we split apart.
zZounds: Yeah, let’s be mature adults about it. If you can’t handle a bass mod…
Chris: We may want to cut what I’m about to say.
zZounds: You always can. Know that you can.
Chris: Okay, I’ll let you be the judge. I’m still trying to find a way to say this clearly. It’s frustrating when a subscriber thinks they hold all this power just because they clicked a button. That I’m now in their debt to do or say what they want. I just want them to know that yes, I appreciate that you want to watch more of what I make. But make no mistake—that doesn’t mean I’m now indebted to you. You’re welcome to hit that button again if you decide you don’t like this anymore. I’ve had people voluntarily give me exit surveys in the comments: “I unsubscribed because of this.” Cool, see you down the road.
I don’t know if that sounds conceited or arrogant or what but that’s just how I feel. Once you start bowing to the pressure of 100,000 subscribers and try to keep everyone happy—it’s never going to happen. The only constant is yourself. You just have to make sure you’re happy.
zZounds: Absolutely. You seem to have your head straight on that. You can’t please everybody—it’s impossible.
Chris: I’ve said it so much because I almost have to remind myself daily. Sometimes I read the comments. I know you’re not supposed to. But sometimes there are genuine questions I want to answer and you know just take the temperature. How’s this video doing?
It’s human nature — it’s always nine positives, to one negative. But we focus on the negative. It frustrates me. Gets me down. I have to remind myself: it’s not about them. They can leave and go watch someone else. I just have to remind myself of that because you know, it gets tough.
zZounds: Yeah, and odds are that they’re going to get disappointed by someone else too.
Chris: Yeah and to make sure I don’t end it on a negative note. We put up with that stuff because at the end of the day, we love doing it. That’s the true nature of it. I enjoy looking at gear. I’m excited to see which of these eight speakers sounds best. I’ll geek out, mic them all, record, and say, “That third one on the right is the best.” That’s why I do it. Because I love gear. And I can’t get distracted by things that are auxiliary to that main goal.
zZounds: Absolutely. It all comes down to the gear.
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