cheddatom

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.

[quote name='thisnameistaken' post='275648' date='Sep 2 2008, 05:36 PM']I think Deeder only did the first two or three albums, then decided to pack music in and go do human rights work. Shame, although I feel a bit guilty saying that . His solo stuff isn't too hot either. I mean it's alright, but it's not ADF quality. Edit: No he definitely wasn't around in 2003, I think he left in 2000.[/quote] I think this is right, I don't really know the facts. His solo stuff is kind of shoddy reggae isn't it?

Yeh they've have a few different vocalists since then, he left ages ago!

They were amazing with deeder (SP?) as the frontman/rapper. It's a shame he left.

take the back off, find the 4 solder points where the footswitches are attached, solder some long wire on, feed them out the batter case, close it back up. Then just make a board however you want, buy a couple of momentary footswitches from maplins, wire it up, (gordon ramsey voice) DONE!

Fair enough, I suppose i'm very used to it. I used to gig with 23 pedals on my board. I had to change to thinner shoes so I could hit one and not the others! You could make a box to raise the pedal, have the two footswitches seperate (very easy) and further apart and away from the exp pedal? I would draw my idea in paint but it's just going to look stupid.