Dad3353

Good evening, Jim, and ... Plenty to read and amuse you here, and lots to learn and share. Indeed, no live music of any scale (no pun intended...) on the horizon, just sporadic bookings, which may be cancelled later.

You're both right, of course, but I've strange feeling that our friend Ray is recording everything, all at once, onto one single track in the DAW. I'm happy to be wrong, naturally, but that's the impression I have for now. The methods you're (correctly...) suggesting imply having each instrument on a different track, and editing/mixing/whatever after the event. I'm trusting Ray to get on to that step soon enough, although this has its own pitfalls and issues (playing to a pre-recorded track, latency, timing... whatever...). Slow but sure, I'd say, one step at a time. @RAY AGAINST THE MACHINE : do you record onto separate tracks, or all on one..?

There's been a mis-understanding here. No-one needs 'calling out' on anything. Spondon's remark, in light jest, was very welcoming, and in no way intended to rile or irk you. Please (please...) take a moment to become more familiar with our ways; we are, indeed, a good-mannered community. Apologies offered to @SpondonBassed for defending his post; a little patience will be required as we ease these new members into the comfortable slippers we all wear. Peace.

A little more information, please, to be able to reply sensibly..? I assume you're plugging the bass and/or mics into the mixer channels; are you recording using the USB into your DAW..? If that's the case, the signal sent to the PC is the same as the Main Mix. The Aux2 knob sends the channel signal to the internal Fx. The Fx To Main knob sends the Fx signal to the Main Mix (and thus to the USB. For each channel, the Pan knob sends the signal to the R and L outputs of the Main Mix, and thus to the USB. Does this help..?

Here's the manual, for starters ... x1204 Manual ...

Mmm... Tea..!

Good evening, Alister , and ... Plenty to read and amuse you here, and lots to learn and share. Here, take this dry towel; you must be exhausted. A cup of tea, maybe..?

That's a 'no-brainer' for me, as I'm a dyed-in-the-wool Casady fan..! Most of my guitars and basses are already semi-acoustic or arch-top, so... The Thunderbird is a fine bass, of course, but wouldn't suit the stuff I play, sitting down in an armchair, mostly. (Yes, I'm old ...). The 'standard' answer, of course, will come shortly, so I'll anticipate... Get both..!

Good evening, BB, and ... Plenty to read and amuse you here, and lots to learn and share.

Good evening, Rob, and ... Plenty to read and amuse you here, and lots to learn and share.

Good evening, Eko, and ... Plenty to read and amuse you here, and lots to learn and share.

Bar..? We have tea (Earl Grey, twist of lemon...); any good..?

Good evening, CE, and ... Plenty to read and amuse you here, and lots to learn and share.

I have an ART pedal board, for guitar, too..! (And others, naturally ...)

If only you'd explained that to me in 1984..! D'oh..! ...

We're on it; just a few little kinks and details to sort out ...

My point exactly (but for how long has the Helix been on the market..?) The Kemper is around £1500. One needs to play a fair amount of gigs with adequate PA's to get that back.

Not suitable for a pub-band budget, though, and all that investment in SVT magic is for nought.

I doubt that much mic'ed bass was fed to many FOH PA systems back then, excepting 'Woodstock'-type gigs. Most clubs had a pair of WEM columns, and struggled already with just the vocals in there. Not sure about the US scene, but mixing consoles were rare in those dark days (yes, I was there...). I didn't get my drums mic'ed up, even in the '80s. The bass amp was all there was on stage, for the hall. Recording a 'live' act would be different, of course, but FOH was brute bass horsepower, back then.

Either these are big 'stadium' venues, in which case mic'ing is fine, or more modest venues, in which case there's no need for bass in the PA at all. There'll be a DI feed to FOH just so that the sound tech can balance a little for the hall, but such an amp, oozing tubey power-amp goodness, is going to be heard for quite some distance.

Good evening, NB, and ... Plenty to read and amuse you here, and lots to learn and share.

For 'live' recording, the best bass tone from a cab is usually a few feet away in front, or off-axis (not always, but usually...). Unfortunately, on the kinds of stages most of us are playing, it's either not physically possible to but a mic there, or, if there's room, it'll be picking up everything else..! Most sound techs, if they're micing at all, will use the DI principally, and blend in a spot of the mic strip if it really adds something. As often as not, it doesn't. Not quite the same with festival-type arrangements, where there's a much greater spacial separation, pretty good equipment and mics available, a decent sound tech with enough Fx racks to get an adequate sound for the occasion. It may not sound good, however, when solo'd from the console, as we know from listening to some top band's 'live' takes. It can be done, but is rarely really worth the trouble and expense.

'Busted'.