cheddatom

Sometimes you just need a break!

I've done loads of gigs on this type of circuit - 3 or 4 bands, the headliner provides the bass amp. I've never had a problem, but my pedal board's so huge, I always had to drive to gigs anyway, so i'd always take my full rig. I've never had a soundguy get annoyed with my using my own rig, even when there's a shared rig set up for the other bands. The only time someone told me I couldn't use my own rig was in a battle of the bands, where apparently being able to hear myself would have been an unfair advantage.

Have you read the thread on compressors IE do you know how they work? A limiter is a very specific form of compression. Personally I would find the LMB3 over the CS-3 if I HAD to make a choice, but that's for bass AND guitar! What is the effect you're trying to acheive?

I'll check this out, I always loved his play on earlier incubus stuff. I do really like Crow Left of the Murder (with Ben Kenny isn't it?) but agree the bass is a tad less interesting. It's a different sounding album, and it sounds f***ing fantastic. I even love the bass tone.

ooops! Still looks a good deal but not quite what you're after.

I'm in 3 originals bands but one of them has covered a couple of songs in the past, in a heavier style.

I read this thread the other day, then just noticed [url="http://basschat.co.uk/index.php?showtopic=106461"]this[/url] on the for sale forum.

I do quite a lot of gigs where we'll share equipment. My band always take everything, but they're never keen for me to set my kit up. Obviously I end up using the sh*tty house kit with dented skins.... But it's never discussed what happens if I put a drum skin through. I've done it before on my own kit, but there's no way i'd pay to replace some pock marked POS on a house kit in a sh*t venue we're playing for free. I wonder where I stand?!

Sounds very interesting!

[quote name='EBS_freak' post='980603' date='Oct 7 2010, 03:06 PM']A plastic bin or a metal bin? That's got me thinking... why is a paper bin not made out of paper?[/quote] You might throw it in the real bin by accident

This thread amuses me!

[quote name='Rich' post='980436' date='Oct 7 2010, 12:23 PM']about as interesting as Ann Widdecombe's sex life.[/quote] Does ann widdecombe not get laid? That's really harsh, someone should put me in touch with her.

are level 42 the Dream Theatre of 80s funk?

[quote name='waynepunkdude' post='980382' date='Oct 7 2010, 11:43 AM']I'm of the opinion that 80's music should stay there.[/quote] Shall we leave punk there as well? I'm not going to see level 42 but that's because I was only 6 when the 80s finished.

[quote name='EdwardHimself' post='980192' date='Oct 7 2010, 08:34 AM']1969!? That's a long break man. What have you been doing all these years? lolz?[/quote] I don't think lolz were invented!

I really want to put a marshall echohead into a bass, but i'm waiting until I can afford a bass to mess up.

51mon's been giving me loads of help. I've still not had a look at the session file he's sent me, but lessons learned so far: Record in 24bit for more headroom Check you have all your input gain set correctly before recording Tune drums properly Mix better I've always recorded in 16bit and always struggled for headroom on my inputs, and never connected the two. Hopefully this will make setting the gain for each mic channel easier. Also, does anyone else have the M-Audio Delta cards? I'm really confused as to how to set the input gain "consumer, +4db, -10db" are the options. Anyway, I played about and got the setting which seems to give the most headroom. I think it's "+4db" - is that right? And have you used the internal pre-amps on a Delta 1010LT? Are they sh*t or is it just me?

[quote name='tayste_2000' post='978078' date='Oct 5 2010, 10:50 AM']She was the venue owner[/quote] I know that one should keep one's readers in suspense, but that's 3 tit-bits from this story in 7 days. How long until we hear the conclusion?!?

any real gun counts! I thought the story was going to be more gangster-scary than crazy-woman-weird.

Yo SS - yes, plenty of out of time drum hits I'm not a great player, and this was after and hour of trying to get a very technical rock song down, but I don't need excuses, i'm not really a drummer. It's interesting what you say about the toms projecting. I did a demo of a new band i'm in, which is chilled out sort-of-hip-hop. We all played live in the room together, just like a practise, and I was limited for channels and so had no close mics on the toms. The overheads were the main drum sound, and with some compression they sounded great. The toms really cut through in this mix, even though I did nothing to specifically address them. This room is quite big, and the reverb you get when playing drums is pretty big. I love that sound when we're in the room, so I want to try and capture that. My stereo pair at the back of the room seemed to do that pretty well, however, like 5imon says, the snare does sound quite far back. So, maybe i'll try to carve the snare out of the room mics a bit. I do have a pair of overheads quite close, and these give a nice overall sound but very dry. I have a load of matresses in the garage, I might get these out to construct a kick drum tunnel.

I just watched the drum tuning videos. Thanks very much! That's very informative. I don't have the back skin for my kick drum, but I don't think that should matter too much. I'll try and tune it. I did tune it up a couple of weeks ago because it felt too slack, but that's probably just my crap kick technique (and horrendous kick pedal). Would you suggest damping the toms at all? I've been to studios where they do that, but they sound so good I don't want to kill it. I'm suppose to start the new creep joint album ASAP but i'm going to wait until I have the best drum sound possible, because I think it kind of ruins the last one.

The rumble i'm on about on the toms is more the actual toms resonating, rather than spill. The mics on the toms are pointing almost directly down to the skin. The toms sound great in real life. Maybe it's the amount of low cut i'm using on them. I'll play with that later. So, maybe I should bring my room mics a bit closer to the kit, and play with my kick drum sound a bit more. I'm using the Red Audio kick mic, do you reckon I should be getting a real punchy kick sound from just the close mic? If so then that would negate the "need" for the room mics to be so high up. I did get a tape measure out to get the overheads equi-distant from the kick and snare. I've never tried time aligning within the DAW before, although i've read about it. Thanks for all the tips - plenty to play with from just one poster

Sorry, I said I was micing the tops of the toms, should I be micing the bottom instead? Or maybe as well? I do have a bit of parallel comp on the whole drum mix, but maybe I should send more of the snare to that. The reason I love the room mics so much is that they transformed my kick drum sound. Maybe I can try carving some of the frequency bands that I don't need out, reducing the reverb effect? I think it's low mids where they added an extra punch that I just wasn't getting from the close kick mic.

I put a pair of mics at the back of the room for this, as well as some close overheads. I liked it, is it 80s and cheesey?!? I was going for "spacious" rather than "sickly". I do have the snare close mic'd but it's not that high in the mix. My toms tend to rumble a lot with the kicks, so there's quite a lot of low taken out with EQ, then I have a bit of compression and a touch of extra attack with the stilwell transient monster. They still sound sh*t though. Should I try micing the bottom instead of the top?