The FrontLine: Metalhead, Paolo Gregoletto

After 272 shows in just under 20 months, we have finally finished touring for our last album, In Waves. My hands are thanking God they get to have a rest from plucking away at the bass. I have to say I’m a bit tired, but it was a hell of a time. We’re now preparing for album number six. What I want to take you through is a basic idea of my pre-production checklist for the studio. As with most facets of band life, whether touring or recording, being prepared in advance is key to achieving the goal you have set on time, and most importantly nowadays, on (or under) budget.

Credit Scott Uchida

Credit Scott Uchida


I will have two, possibly three basses with me for this album. My current touring bass, the natural wood-finished BC Rich Warlock, my retired white Warlock and my dark grey Mockingbird, which I had recorded the past three albums with, will all be in my arsenal.


During pre-production I will probably only change strings every other day depending on how much jamming we do. For the actual album I will change strings for each song to get the most consistently bright tone. I am going to end up needing between 25 and 30 sets of strings, about as many as I go through on a tour.

We are fortunate to work with Dunlop, who really go above and beyond to help us in the studio and on tour, but if you don’t have an endorsement I really can’t stress enough how important it is to change your strings at least every two songs. Brightness is easy to take out of a bass when it’s already there, but you can’t add it once it’s been recorded.

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