mrtcat

I'm a big fan of aux fed subs and find it particularly useful for bass. Too much sub on a bass guitar can leave it sounding too big and undefined. Just a touch gives it great authority and you can tighten the sound just by rolling it off a touch. I'm another one who uses a helix but I find that a slightly middy sounding setting on the helix eq translates to a nice thick tone out front. I have light compression at the start of my signal chain and a slightly more comprehensive one in the mixer (another XR18 user here). 40-50hz HPF filter and 5K LPF.

Played an Oxford Uni graduation ball with an old Steel Panther tribute band I was with called Iron P##sy. Everyone was in ball gowns and tuxedos and had paid £140 a ticket. We rocked up and opened with "17 Girls In A Row". There was a fairly strong feminist vibe in the room and with the exception of the rugby team, who loved us, we got plenty of verbal abuse and a few drinks thrown at us. At the end a rather militant looking group of short haired girls got up in our faces and we're expressing their feelings. Didn't help that our singer genuinely thought they were messing around and was hitting on a couple of them.

Generally OK but the neck pocket isn't as snug as I'd expect it to be and after having to send the neck back for them to retro-fit the luminlays that they forgot to do fist time round it has come back looking like a five year old has fitted them. That said the neck itself is lovely and it plays well.

Any ideas where to buy in the UK? They're $149 from woojer but they're not giving an option to ship to the UK.

As someone who deps a lot and uses deps quite often I'd advise that having structure and basics nailed is your first priority. If you know that and don't get lost anywhere then you're not going to throw the rest of the band. Once you have that sorted you can look more closely at finer details. Personally I chart songs and then "jazz it" a bit so I don't carbon copy another players bass lines but it is definitely worth listening to what the original player does on original songs and at least try to capture the same feel he or she goes for.

Yes And no IP1.jpg 70 kb · Done

And don't forget, a decent garden room can add value and improve saleability.

There's actually three in each window (they were reclaimed from my parents old upvc windows and I had 6 identical panes) and the external door is a heavy solid unit with a memory foam mattress on the back of it. Not perfect but surprisingly effective. There's a double internal door leading through to the garage side and that's two oak doors (again reclaimed) back to back with a 4 inch void between them. It could be a lot better but it doesn't really need to be. I have an old isolation box from when I was cabinet making that I can put a guitar cab in if a guitarist wants to crank it and 9 times out of 10 were all using in ears and the electronic kit.

The foam panels were donated to me from a friends rehearsal room that closed. I don't really need acoustic treatment as we use modelling units for guitars and bass and an electronic kit with everyone on in ears. If we record anything you're not hearing the room at all except for with vocals. Same applies when we rehearse. Its very rare for me to record other bands in there now so I can't really justify the outlay. If i was recording acoustically more often then definitely I would.

The basic building was a touch over £5k including the cost of concrete for the base and electricians fees to run a dedicated power supply and to install all the sockets etc. I salvaged the double glazed window panes from my parents place when they had new windows put in. The insulation and membrane totalled about £300. The plaster board was about £250 (i went for the more dense sound reducing stuff) and then probably another £100 to plaster and paint it including tools. Total spend was just under £6k. I spend probably £80 every year to re paint the exterior. In terms of soundproofing its surprisingly good. We have recorded acoustic drums in there many times and you have to be standing within about 5 m of the building before you can really hear the kick with a loud drummer. It could be better if I'd opted to use isolation rubber plasterboard fittings and a floating floor to essentially isolate the inner room from the outer shell.

This. All day long.

I built mine myself. The main building was supplied as a rough kit from the timber merchants in a neighbouring village. It is on a full concrete base, a wooden frame made from 2x4 timbers, felt roof slates, lapped outer wall with a breathable waterproof membrane then a 3 inch layer of polystyrene insulation followed by ply inner walls which have been fully battened to allow 4 inch acoustic insulation in the walls and 12 inches above the ceiling. The whole thing is then dry lined and plastered. I have a really low output conservatory storage heater which ticks over all winter at pretty much no cost. The insulation is so good that its warm in winter and during the recent hot weather was absolutely beautifully cool. The inner space is divided into two so there's still a functioning garage / mower store in the non music room side. I have an acoustic drum kit that has been converted to electric running through superior drummer and we have full band rehearsals in there with everyone on in ears. We also have video cameras permanently mounted on walls so we can shoot videos at rehearsals if we think it will make interesting media for our potential clients. As we use a digital mixer its a cinch to It's a work in progress but is an amazing space. My advice is that you need to start with a solid base and be prepared to insulate really well and install a breathable membrane. If its built well and you look after it there should be absolutely no reason to have any damp issues. Invest in decent security. The alarm we have is linked to our house alarm and I have so many locks and door bars etc that it takes me 3 mins to get in when I first unlock it.

I've not owned one but I recorded a band in my studio a couple weeks ago. The bass player had the flea jazz and it sounded absolutely brilliant. He was playing rock with a pick and it had growl for days. I had a play on it briefly and couldn't fault it.

I don't know if any ever made it to video shoots but it wouldn't surprise me. Most were made from particle board so were much lighter but tended to dent quite easily so were often stripped for parts at the end of a tour and replaced with new ones. Funniest thing was I drove past Marshall hq pretty much every day on the way to work.

1 12 inch driver in every 4x12 box I suspect much like many other bands did until modelling tech really upped its game.

Mine arrived yesterday too. Not had long with them but definitely very happy. Far more bottom end than I was expecting and good separation of lows, mids and highs. I'll tweak eq today and then save an eq setting for them on the XR18 so I could pull that up if I ever need to use them at a gig.

I used to make isolation boxes for amps when I was a cabinet maker. They were popular with touring bands but the major improvements in modelling kit like kemper and helix have taken over now. I also used to make mock Marshall cabs for show. My favourite build was when we completely remade a couple of Marshall 4x12 cabs for an endorsed guitarist. The Marshall cabs were so poor in both sound and construction (the vintage 30s in Marshall cabs are nowhere near the same as regular vintage 30s - they're like a poor imitation) that the guy had us essentially build a mesa cab in Marshall disguise.

Forum rules don't allow rickenbackers in the bc marketplace because the bods at rickenbacker are a bit mad.

It's a shame they don't cater for iPhones but the X-Air app works on all android phones.

We use a acoustic drum kit that's been converted to electronic running through superior drummer so my mix goes: 1. Drums Took some tweaks to sort any latency but since then it has been great. Whole band on in ears so silent stage and total control of foh mix in everything from tiny pubs to huge marquees. We never have to worry about noise limiters and as we invested in great pa gear rather than backline we know our pa can outperform even the best boutique backline. Sadly, with no mush in our sound, any mistakes come across loud and clear

1. They must have a plan 2. No "classic rock" 3. All gigs are paid 4. Gig at least 4 x as often as they rehearse. 5. Bloody good drummer 6. No divas 7. Everyone pitches in with set up and tear down. 8. Whole band continually aims to improve.

Go stand next to the mixing desk. If it sounds bad there then blame the engineer. If it sounds great there but terrible everywhere else then blame the venue.

Keeps popping up on my fb feed. It's a start up looking for funding at the moment but seems to have some very credible backing from the likes of Victor Wooten and Marcus Miller amongst the big name bass players helping them to push it.

Likewise

I ordered a pair from geekbuying.com yesterday. They'll ship to UK but takes a couple of weeks.