Dad3353

If I'm micing a cab, it's exactly because it's the sound of the [i]cab [/i]that I want to capture, and so would want as neutral a 'take' as reasonable. If the 'take' is 'coloured' by the mic, it's no longer possible to judge the final tone by listening to the cab; one has to do a couple of passes and listen to these 'roughs' to hear what will go on the final track. I wouldn't want to do that, usually, so I choose 'flat' by default. Close-micing a cab is, in my view, similar to building in an effect, as that's not what one hears naturally. It may well suit some styles, I don't doubt, but it's not my usual procedure. I certainly wouldn't entertain doing that every time for all; it must create a certain specific tone over whatever is being played. Different folks, different strokes, of course.

Let's try a bit of electronics 101 for dummies... We'll assume that you know about frequencies from your musical education. Electricity goes from DC (Direct Current, no oscillations...) to AC (Alternating Current...), which corresponds, roughly to musical frequencies. Capacitors are a barrier for DC, but will allow more and more AC to pass as the frequency is raised. Low frequencies don't go through much (bass...); higher frequencies go through more (treble...). Now, let's suppose a wire connects the o/p of your pre-amp (the jack socket...) directly to earth. No signal will come out of the jack, as it will all go through the wire to earth. We'll replace the wire (a short-circuit...) with your capacitor. This will not allow (much...) bass to 'leak away' to earth, but will allow more and more treble to 'disappear'. The exact amount of leakage, and at what frequency, will depend on the value of the capacitor. The simple test, as mentioned above, is to just do it; connect the capacitor between the o/p jack 'live' connection, where the pre-amp signal is connected, the other end to earth. This will not explode the pre-amp, and will cut some signal, depending on the frequencies being played. If you like it, solder it in place. If it doesn't please, try other values until you find one that does what you want. Report back here in case of problems, success, black smoke or howling feedback. The simplest way is to take it to someone competent and explain what is wanted and they'll do it. Experiments can be fun, though, as long as one keeps in mind that the proper of an experiment is the possibility of failure. Hope this helps in some odd way.

Again, just a generalisation, but if it's the cab I want to capture, it's not the cone I want. I don't listen to bass with my ear up to the cone, so I don't try to capture that way. For guitar, it's a bit different, but even then, I'd be micing from a distance (usually 1 m or so...), and maybe, just maybe, also adding in a specific 'cone tone' with an E609 suspended from the cab top; especially for a sealed cab. I suppose it depends to some extent how you're playing your bass, too..! If you're playing like a guitar (lots of upper mids, soloing etc...) it may make sense. How do you cope if there's a tweeter in the cab if the cone is close-miced, for instance, or if the cab is ported..? No, for bass, I'm quite careful in the mic placement, but would do it with trial and listening, rather than any measurement of distance from cone. It may turn out to be centred, but I wouldn't be looking specifically to centre or not. I just listen first, and place the mic where it sounds best to me. I'd be more concerned as to why the DI component is, it would seem, unused. What's wrong with it that you can't mix it in..? It's not essential, of course, but I'd need a pretty good reason for not wanting any at all in the mix.

I use different mics for recording than from 'live' work, and depending on whether the bass is isolated, or played with the other instruments in the same room. Generally, I use a large-capsule condenser mic, placed around 1 m or so away, if it's the sound of the cab I'm wanting to capture. I'd only use close-micing if there's 'bleed' from other sources; the 57 is fine, but I'd probably prefer my Superlux tom mic. I'd not usually use a bass drum mic, as I would normally be looking rather to differentiate the bass from the bass drum, and would prefer to have a different frequency response from the outset. As a general rule, I'd record as 'flat' as possible, as long as 'bleed' is under control. So: SM57 and large-diaphragm condenser mic for me (plus DI, of course, in just about every circumstance. Phase inversion may sometimes be necessary...). Hope this helps.

[quote name='CamdenRob' timestamp='1461685074' post='3036750']... In the full blown compo comp thread Dad does a full write up of each piece every month... really gets into the details. It must take him ages and it really looks good and I am sure is one of the reasons the competition remains popular... [/quote] Thanks for that, and truly sorry to disappoint, but this month I really won't be able to. Yes, it takes time; time well spent and very enjoyable, but it also takes effort, effort I can't spare right now. I have my ups and downs; now is not ideal, and I can't do the pieces justice if I'm not on form. Hoping that the Challenge (nor this one..!) hangs not entirely on my poor self..! It's nice to get a nod of appreciation, though, so 'Cheers' for that.

[quote name='cd_david' timestamp='1461668996' post='3036548']...Does anyone know if it's possible to stop receiving updates in 'my contents' feed?... [/quote] From the 'My Profile' menu (top right...), select 'Contents I Follow'. Select in turn each of the topic titles, and select 'Unfollow this topic' (Upper right...). If there are forums you no longer wish to follow, do the same for 'Forums'. (selected in the left column...) Hope this helps.

[quote name='spencer.b' timestamp='1461626632' post='3036342'] This has got me thinking maybe my orange is a bit knackered!! [/quote] Here's a copy of a post of mine from September last, concerning our Hiwatt... [color=#800080][font=helvetica, arial, sans-serif]There are two versions of this amp; 6 x EL34 and 4 x KT88. Both are very powerful; I have a preference for the KT88, simply for the clean headroom. Not best suited for O/P valve 'grit', as these valves are very hard to 'bend'. Clean, chiming, natural... Rare indeed, so I cheat and use a DR205 PA head instead. Different tone stack, 6 I/Ps (I've used it at a French Bash with several basses and guitars plugged in at once...), but the same awesome power.[/font] [font=helvetica, arial, sans-serif]An anecdote..? Yes..? OK, then, but you'll have to be patiently seated...[/font] [font=helvetica, arial, sans-serif]I got the amp from a young lad in Kingston, Surrey. I popped over with our youngest to collect it, on foot; my elder brother picked us up from the ferry in a [/font][font=helvetica, arial, sans-serif]Jaguar[/font][font=helvetica, arial, sans-serif]. Parking in Kingston is not easy; we found the street, but had to park quite a fair way further down the street. Big Brother stayed in the car whilst we went to see the amp. The bloke brought us through to his back kitchen, where the amp was sitting atop of a 4x12 cab. He brought out a bass to plug in, and we twiddled about for a few minutes, the young'un on bass, and me turning the dials. All seemed to work just fine. The fellow then said "I'll show you that it's working well..." and fetched his Telecaster guitar. With no further warning, he plugged in, turned up the juice full belt and let out a power chord. I, and our youngest, leapt back about a yard and a half; we were stunned. We let the amp cool a bit, popped it into its flight case and carried it out to the car, about 500 yards down the street. Blinking heavy, are [/font][font=helvetica, arial, sans-serif]Hiwatt[/font][font=helvetica, arial, sans-serif]s, but I digress... Elder brother had a concerned look on his face, and asked us what in the name of blazes had happened. He'd been quietly listening to the radio in the [/font][font=helvetica, arial, sans-serif]Jaguar[/font][font=helvetica, arial, sans-serif] when he heard this almighty crash from down the street. The sound had carried through the house, down the street and into a closed car, enough to make [/font][i]him [/i][font=helvetica, arial, sans-serif]jump, too..! Oh how we laughed...[/font] [font=helvetica, arial, sans-serif]Loud..? Yes, these amps can get very, very loud. We don't play that way, and don't use tone controls anyway (straight 'plug'n'play', old school...), but the headroom is heavenly, right up to the sky. Excellent amps; wonderful for bass, but heavy. Very, very heavy.[/font][/color] [color=#282828][font=helvetica, arial, sans-serif]Just sayin'.[/font][/color]

[quote name='spencer.b' timestamp='1461625706' post='3036332'] Sorry for being dense but could someone explain sensitivity in laments terms So is the general gist that if I downsize my cab then the ohmage isn't critical cos both my amps are powerful enough to put as much power into the cab as it needs? [/quote] Depends on the venue, really, but, as an example, we use a Hiwatt 200w valve amp and it's inconceivable that it be turned up full whack; the walls would need plastering. Sensitivity..? Layman's terms..? Imagine a billiard cue and a billiard ball. Touch the ball and off it goes. Now, replace the ball with a basketball. Use the same power in cueing; the basketball will hardly move. A more sensitive cab will give more sound than a less sensitive one, given the same power input (the cue, remember..?). There are many reasons for this, but it's not necessary to know all about it. Usually, a 'reference' power of 1 watt is given (the cue push...) and the db is the amount of sound produced for that 1 watt input. One may produce 95 db (the basketball...) another 105 db (the billiard ball...). The higher the db figure (for the same power in...) the more sensitive the cab. All well and good, but a very sensitive cab that can't handle enough power to fill a room is no good for a rock band. You also need to know how much sound (spl...) the cab can produce at its maximum. Some will state 95 db, others 102 db or whatever. Be warned, of course, that these are just numbers. 102 db of lousy sound is not better than 95 db of quality tone. The real test is the ears, hearing the cab, preferably in context. Go to see bands playing in the same vein and see what they use..? Borrow (or hire...) a cab and try it for a couple of weeks..? Don't just go by figures. Hope this helps.

[quote name='Kev' timestamp='1461619522' post='3036261'] I think I said 'bloody' once in a thread - I got a formal warning from a moderator. [/quote] [quote name='Billy Apple' timestamp='1461619874' post='3036264'] Bloody hell! [/quote] Reported, the pair of you.

[quote name='spencer.b' timestamp='1461624730' post='3036327'] I use an orange ad200b which I love the tone of but I also have an aguilar ag500dc which I'll take if need loads of volume [/quote] You will never on this Earth need more volume than a 200w valve amp can put out,be it into 2, 4, 8 or 16 ohms. An Aguilar 500 will fill most halls, too. I wouldn't worry too much about ohmage with those amps; think more in terms of sensitivity (db/watt..?), spl (how much noise it can make..?) and portability/practicality. Just my tuppence-worth.

[quote name='CamdenRob' timestamp='1461595199' post='3035937'] How do you say heft in French? [/quote] Same as in English: Hiwatt.

[quote name='skidder652003' timestamp='1461529623' post='3035502'] good call! I would order more but the guitard's cables always break and he pinches mine, so no way am i spending good money on that f**kstick's lazyiness. [/quote] Duff reasoning. If he bloke nicked an OBBM cable, he would break no more. Get two, then, and let him swipe one. There; problem solved. No need to thank me.

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[quote name='EvilSmile' timestamp='1461506869' post='3035219']... is it possible to have the pdf/jpeg of the correctly formatted music?... [/quote] Certainly; see attached 'pdf' (again, download and change the suffix...) [attachment=217697:Mist_Fx_1.pdf]

[quote name='Bill Fitzmaurice' timestamp='1461502105' post='3035172']...he will still give you something that no one on the stage can: a set of ears in the audience. [/quote] Just as an example of added value, many singers can benefit from a spot of reverb or delay (or both..?) ; even better if it's dosed for the right moment in a song. On the other hand, for making announcements, or 'banter', a rather dry mic is often the better choice. A sympathetic bloke on the console can juggle any relevant fx, enhancing the overall performance. No, not indispensable for many pub gigs, but when it's done right, it's worth having someone do it. Just sayin'.

[quote name='EvilSmile' timestamp='1461500035' post='3035140']...I'm all ears! [/quote] Here you go; try these (download and re-name as a 'zip' file; it's the System that friggs up the file extension like that...)... [attachment=217687:Mist_Fx_1.zip] Unzip to get the GP file + the Xml file. The first half is 'Misty', for reference, followed by the same, but with an example of pretty well every effect on the bas track. Sounds 'orrible, but you guessed that, anyway. Get back to me if there's a problem, or if you need more... Hope this helps.

[quote name='chris_b' timestamp='1461494907' post='3035073']...get an amp that makes a great sound and lets you sound like you, not someone else. [/quote] But the fellow said, in his original post ... [quote name='danbanbass' timestamp='1461364132' post='3034146']...I play in a Foo fighters tribute band and can't get it to sound right.... [/quote] ... so is obviously trying to sound like the Foo Fighter's bassist. Just sayin'.

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[quote name='bubinga5' timestamp='1461450963' post='3034821'] i haven't checked that fact but I'm sure there was Doug.! I've just spoken to you about this. whats the matter matey.? [/quote] No, you're addressing DarkHeart now. I left, on the tips of my toes.

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