cheddatom

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?

I thought i'd make a topic to stick stuff in. Hopefully i'll get some advice and learn some more about recording. I've attached something I did the other day - this is just a bass thing I was doing for a bit of fun, but I recorded drums onto it to practise my drum sounds. I reckon this one sounds OK. The toms are lacking real body, which I could do with some help with. They're close mic'd with Red Audio clip ons. (no criticism on the crap drumming thanks, just the sound )

I met Andy yesterday to buy some stands and cables. Once amazing, great prices, a pleasure to deal with etc

Good on you wayne, it looks great.

[quote name='mike f' post='971015' date='Sep 28 2010, 06:57 PM']Regarding Route 66. In the late 80s it was THE place in Hanley, Stoke on Trent to drool over guitars. This is the place I bought a Capri Orange 77 P-bass for £270, and 78 Stingray for £695. It was run by Don and Karen. Don ALWAYS wore those big glasses with the bottom half shaded bit, and Karen was a bit of a rock chick..., or was. Lovely people who must've seen me at least monthly as I could not go to Hanley (from Congleton) without walking up the hill to, well, just go and look. Oh, they had a sale every year and I swear once they had a Dan Armstrong(?) plexiglass bass for "£85 or make us an offer"!![/quote] Yeh I got my first guitars from route 66 in the early 90s. I don't know the dudes name, but i'm pretty sure it's the same guy who's been there for 20 odd years. I think maybe the downturn depressed him somewhat.

"all other things being equal" perhaps it would be best to ask him if he'd mind changing his image to be more appropriate so that you might judge the two candidates on an equal footing. I know a guy who is a real shredder but he loves playing in his folk band. Admitedly he takes an acoustic and not his BC Richs, but still, you'd have turned him down and he's great!

[quote name='mike f' post='970642' date='Sep 28 2010, 01:35 PM']Thanks cheddatom, that would be great! Or should I say, grate! Cheddar - cheese - grate..., ahem, sorry. How is S-O-T? Does Route 66 still exist up 'anley?[/quote] Ay up duck, he swapped premesis with the sex shop I think. I'm not sure if he's still open to be honest. A bit of a weirdo! (although a nice weirdo) what do you guys reckon to the quality of my videos? There's obviously a lot of compression going on in the camera, but at least it's not horrible distortion! Some are better than others.

[quote name='tayste_2000' post='970694' date='Sep 28 2010, 02:12 PM']Everything from small pubs, to outdoor festivals. Your problem generally comes from new venues and new promoters. New promoters in particular that just think all you need is an idea and a myspace page. But often you don't know its bad until your there dealing with an idiot, hence why we bring everything we need to perform. It still beats the time we were nearly shot in America, should really open a tour stories thread.[/quote] YES you should!!

All the [url="http://www.youtube.com/user/creepj0int"]videos for creepjoint[/url] were done on a standard little £100ish compact digital camera with a video feature. I've not messed with the sound on them at all. I reckon it's pretty impressive! I'll find out what model it is if you're after something like that. We've used proper DV cameras on tripods before but never seemed to get very good sound quality.

[quote name='tayste_2000' post='970497' date='Sep 28 2010, 11:27 AM']I turned up one place and the promoter said "A what, A P A? What's that needed for? Don't the singers bring their own?"[/quote] Christ, what kind of venues are you playing!?!

Maybe we've always been lucky?! But also i've been gigging a lot less than you, so i'd not need to be that prepared, or at least never realised i'd need to be that prepared. We played a sh*t pub in Stoke with no gear before actually. We turned up and they literally had nothing for the gig, and wanted to cancel it. We'd sold so many tickets and it was such late notice that I drove back to my studio and grabbed our sh*t PA and a few amps to try and cobble it together. It kind of worked.

I thought it was going to be an automatic tightener. It looks to me like all it does is hold the socket still, which is a bit sh*t. My main problem when tightening them is not keeping the socket still, but actually turning the nut. Perhaps there's a simple tool you can get, but none of my spanners fit into the recesses of jack sockets.

My mate has a flat in manchester so it's cheap for me it's a shame you're not going, but you've seen them twice already! I'd love to hear a recording from that PT set up, I bet they do it for most gigs.

I guess it wouldn't be too difficult given his huge pedalboard. It did look like the ashdown rack was his when I saw them at rock city, but I suppose that was naive of me - who would fly an ashdown all the way from australia!? Seriously his tone was good enough to give me a prostate massage. Were you at rock city then? I'm going to see them again in Manchester, I think it's in December. EDIT: They were touring with a full pro tools rig, racked for their live sound - perhaps the bass is going through that too.

Heh, OK, all I was saying is that you shouldn't dismiss people without hearing them play IMO. Bassists go on about playing to the song/sound. I'm pretty sure guitarists can do that too. My guitarist has a hughes and kettner half stack "designed for nu-metal" but the gain turns down and he gets great blues tones out of his washburns with two humbuckers and his nu-metal amp. Clearly i wouldn't stay in a band with a guy who won't mould his tone to suit the music. Either him or me would have to leave. This has got very protracted, my only point was to avoid prejudice when looking for musicians to play with - you never know what you might find.

[quote name='pantherairsoft' post='969664' date='Sep 27 2010, 04:47 PM']That was Illuminatus And yes Karnivool are bloody awesome. Karnivool Bassist uses A Warwick Thumb NT 6 through Ampeg's with a rather elaborate effects set up… but the sound is a true monster.[/quote] Ahhh, OK. Well his sound was great until Karnivool started playing. I'm pretty sure he gigs with Ashdowns but perhaps he uses Ampeg in the studio.

Tayste - when I was playing bass i'd gig about two or three times a month. I've never come accross a venue without a DI for bass, and i've never owned a DI box. I've always used the pre-amp output on my amp when a DI box isn't available in the studio. I just run that to the desk. I suppose i'd do the same live. It makes sense to always be prepared though. I'm not criticising, just wondering.

[quote name='Truckstop' post='967707' date='Sep 25 2010, 03:19 PM']Loving the look of the Bongo 6.[/quote] [quote name='Truckstop' post='969655' date='Sep 27 2010, 04:41 PM']but I also find them very ugly indeed[/quote] Lol EDIT: I quite fancy a go on one but no idea where you'd find one. I saw a guy playing a 6 string bongo supporting Karnivool but to be honest I totally forgot about that band after Karnivool blew them away (and their bassist uses a 6 string thumb AFAIK).

[quote name='tayste_2000' post='969599' date='Sep 27 2010, 03:56 PM']No venue I've played has a Radial JDI, if you want quality you better put it in your gig bag [/quote] But can anyone tell the difference when it's going through the PA with everything else? I suppose you can else you wouldn't bother, but it's not as though you're monitoring your DI is it, you have your amp for that.

Why do people take their own DIs to gigs? Most amps have a DI output, or at least a pre-amp output or an effects send. Also, every venue i've ever played have had their own DI boxes....?

[quote name='maxrossell' post='969318' date='Sep 27 2010, 12:07 PM']Again, it's not an assumption I would have made had it been just one of his guitars. It occurs to me I should point out that in the photos I've seen of him he's got long black hair and favours thrash t-shirts. Not again that that absolutely certifies him as being "that" type of player, but you gotta admit it's a pretty easy assumption to make. He didn't make it as far as the audition. I asked him if he had gear, he said "Yeah, I have three Ibanez RGs, won't touch anything else." I asked him if he was joking, he said no, so I "forgot" to invite him to try out.[/quote] It's subjective obviously. He wasn't going to fit in with the asthetic of your band, that's for sure. He might have been the most amazing player though. Most people (I know) do play lots of different styles of music.

[quote name='maxrossell' post='969300' date='Sep 27 2010, 11:47 AM']I have a really open mind. And you're right, to an extent it is an aesthetics thing. But like I said, the judgement call was not based on the fact that he chose to own an RG. The judgement call was based on the fact that he [i]refused to try playing anything else[/i]. No single-coils, no semi-hollows, nothing. That's a degree of close-mindedness the band can't work with, specifically because of the kind of music we make and the way it sounds.[/quote] It seemed more like you were making assumptions about his playing style based on his choice of instrument. If he came to an audition, and you said "please could you try playing it on this other guitar?" and he just refused, I think that's fair enough.

It sounds like you're trying to justify something totally unreasonable with reason. If it was purely on the basis of aesthetics then I totally understand. If you just decided that this guy couldn't get a "vintage" (or whatever is required) tone out of his RG, or if you decided that he couldn't play anything other than technical shredding without even listening to him, you made crazy assumptions IMO. I actually know a couple of guys who like their Ibanezes. One of them plays really trashy punk, the other guy will play jazz, blues, rnb etc very well, and no he doesn't play it through a mesa with the gain on 10. If you just said "I can't really justify it, but i'm not having a guy who only plays RGs in my band" - fair enough, but there's no logical reason to assume all these things about a player you've not heard! I know what you're saying - in your experience, this is just how it's worked out. I suppose i'm trying to get you to open your mind a bit. If I got turned down for a band just because of the bass i'd played I would be well pissed off.