cheddatom

[quote name='benwhiteuk' post='280251' date='Sep 9 2008, 11:57 AM']Although realistically by definition you probably don’t know what you’re missing. How can you know or appreciate what you’re missing if you don’t actually understand what you’re missing?[/quote] If I don't like the idea of rollercoasters because of the extreme speed and G force involved, I won't go on rollercoasters, I will never have the experience of that extreme speed or G force, but I will know that that is what i'm missing. If I go and watch a jazz band do a load of improvisation in some weird keys that's quite obviously technically challenging, I can observe the use of the theory I don't know - so I quite clearly know what i'm missing.

[quote name='bilbo230763' post='280232' date='Sep 9 2008, 11:40 AM']But those that don't know what they don't know can only want to know what they don't know if they have a very real sense that they don't know what they don't know. If they knew that, and knew that they knew that, then they would want to know, you know?[/quote] I know I don't know a lot of stuff. It doesn't mean I don't know what i'm missing.

In cubase there's a great plug-in called "quadradrive" which is an overdrive, but used in the standard "blank" position is basically an excellent multi band compressor - try it out. Everytime I record something in too much of a rush or have made a mistake and can't go back to fix it, I use this plug-in, on guitar, bass, drums, and vocals.

The closest i've come to a gimmick is wearing a plain silver very reflective shirt - it was pretty dazzling, but some c*** nicked it after the first gig [quote name='Mr Fudge' post='277624' date='Sep 5 2008, 09:57 AM']hoping competitions[/quote] How do you win? Whoever gets a secret wish granted?

I reckon if what you have has a sound you like, and is loud enough, you should really stick with it. The only times I have spent money on gear is when i've felt i've needed something. If you just fancy something new, buy a pedal or something a bit cheaper! A new bass would probably make more of a difference than swapping from a good Ampeg model that you love, and a good Ampeg.

[quote name='OldGit' post='279591' date='Sep 8 2008, 12:01 PM']Guardian liked it [url="http://www.guardian.co.uk/books/2000/may/11/1#a"]http://www.guardian.co.uk/books/2000/may/11/1#a[/url] "oh yeah, I play the bass/the bass plays me/the four-stringed, thick-bellied electrified monster, you know, the one that eats all other noises alive and I've gone walking down these four strings most every hour of every day, of every year and every busted heartbeat, just trying to get along to where the last riff kisses the dark/the subsonic groove, we call it dub culture/midnight's vibration/something to reach for some throat, some bottom, some neck and some deep clutch of riverpulse/gets you hot just strapping yourself into the thing/and the more you play, the hotter it gets, the slicker the slide/and all for nothing much because none of the songs you discover, ever come anywhere near to what you hear in your dreams"[/quote] I quite like that quote! I may buy it!

I use a peavey TNT 15" combo, which has a crossover built in. I use the high output to go to a jonhson 2 x 12" guitar combo. It sounds so much better than most rigs I have played, but that's because it's tailored to my tastes I suppose. It's just surprising how much volume I get out of it, and quite funny when compared to some massive bass rigs i.e 8 x 10" or 4 x 10" and 1 x 15" - it easily keeps up. EDIT: I suppose it's actually "perceived volume" rather than actual SPL?

[quote name='fifeq' post='277757' date='Sep 5 2008, 12:51 PM']I like to use simmilar setup but have a problem with feedbacks. anyone know how to solve it? does the behringer or other cheap mark do feedback destroyer thing(i think boss does)? or any other option? cheers![/quote] Turn down, turn away from your amp, or get a noise gate. You don't want a feedback destroyer!

It's good to hear it's going so well Dave!

I would come up tayste, i'm constantly board these days and need to fill my time up. I don't have any nice/boutique pedals but I can bring the sh*t load that I do have.

[quote name='wateroftyne' post='277081' date='Sep 4 2008, 03:13 PM']I hear what you're saying, but... Someone mentioned earlier how great a producer Phil Spector was. And he was. He also knew *exactly* what he wanted each instrument to do. HOWEVER... he didn't play the instruments himself. He got someone else to do it. Someone who knew that role inside-out. Do you respect him less because of that? ...a producer's relationship with their engineer is no different.[/quote] I don't know much about phil spector sorry..... If I wanted a paiting on my wall, I would go out and find a painting I liked, and then hang it. If I knew exactly what the painting should be, I would try to paint it myself. If I could get an artist to paint it for me, exactly as it was in my head, I would be a communications genius. I don't have less respect for a composer who can't play his own music compared to a composer who can, but to compose music you have to understand how to relate that music to musicians using notation etc. To be fair, I do think you have a point. Maybe great producers are communications geniuses! Most of this thought process was spaked by the realisation that I loved the sound of certain albums which Rick Rubin had worked on, but Rich Costey had engineered. When Rich Costey broke away to produce stuff AND engineer it, it all sounded as good, if not better than when he worked with Rick Rubin. When I realised Rick Rubin didn't have a clue about actually technically crafting the sound - just what he wanted something to "feel" like, I thought it was pretty obvious which of the two was accomplishing the amazing sound of the music.

[quote name='wateroftyne' post='276933' date='Sep 4 2008, 01:12 PM']Aye, but... what makes a GREAT producer great is knowing what *right* sounds like. No offence to the engineer's mum, or the band's manager, but chances are they don't have a clue.[/quote] Yeh, good point, I would just have more respect for someone who knows what "right" is, and how to get it, rather than trying to get someone else to get it "right" and probably settling for a compromise.

[quote name='wateroftyne' post='276873' date='Sep 4 2008, 12:28 PM']Subjective it may be, but 'the producer' will only be happy when he hears the sound that is in his/her head. It's not that uncommon for a producer to be 'hands off'.[/quote] I totally agree, but before I realised this I would give the producer credit for what I now think is mainly the engineer's work, and I think a lot of people are like that. The producer might get the engineer to keep working until it's "right" but I think that could be anyone - the band, the manager, the engineer's mum....

[quote name='tayste_2000' post='276887' date='Sep 4 2008, 12:38 PM']You can stay away from me as well with that thing poking out[/quote] I couldn't get anywhere near you! ..........................Unless I was walking backwards

[quote name='SteveK' post='276775' date='Sep 4 2008, 10:30 AM']That's common practice - A good producer will be concerning himself with the music. Patch bays and the like are for the engineer to worry about...Engineers engineer and producers produce. At least, that's how it was in the olden days Steve[/quote] Obviously, my point was that Rick Rubin doesn't even touch any faders. He might say to the engineer "I need to hear more bass" or "that guitar sounds crap" but my point is that the description of sounds/musicality is so subjective that without actually sitting there moving faders and trimming pan pots, you're not actually "crafting" the sound. For all we know, Rich Costey (one of Rick's most famous previous engineers) just used the DDA filter all the time.

Every time tayste posts his board I have to walk around at work the whole day with an erection. I should just steer clear of this thread!

I love listening to the sound of albums, the "production" but I think a lot of producers get credit for things they haven't done. I always though Rick Rubin was a master producer, considering the amazing sound on some of the albums he's done, but I read in an interview that he doesn't and has no interest in knowing how to use a mixing desk. He just tells an engineer how he wants it to sound. With the description of sounds being so entirely subjective, I find it hard to beleive that he has been the one actually "crafting" the sound.

Next time tell them you'll buy it if you like it.

Yeh, there are some great live videos on youtube from that period actually.

[quote name='johnnylager' post='276125' date='Sep 3 2008, 11:22 AM'] Why thank you. Puerility at it's finest. We also do 'songs' about drugs, misogyny & serial killers.[/quote] Are you in The Premature Ejaculators?

[quote name='themoo' post='275475' date='Sep 2 2008, 02:52 PM']Spot on Nick... I swapped the one below with André for #147 [/quote] That's my favorite on this thread.

I think the perception of "bum notes" or deviations from a "perfect" rendition of a bassline is a little irrelevant. That quote should be used as advice for players, not for the audience. If you see a player deviating from a bassline, you will never know if he's doing it on purpose. The point is that as a player, you should be able to play a line before you deviate from it, otherwise you are just making a hash of a bassline, whether people think you're amazing for it or not.

Pretty much common sense though isn't it? Everyone knows you need to be able to actually play a bassline before you can mess around with it.