51m0n

Try this lot:- http://www.templeaudio.net/

Errr what a poorly written and researched article. I particularly love the "The sound of a snare drum can be fairly insubstantial and generally needs souping up with reverb to make it sound more prominent" - Errrr no, the sound of snare drum is one of the only acoustic instruments liable to make you deaf. Of course if you record it badly and mix it to sound like a mouse farting it wont have the same impact. What a tool. Oh and where was "Parliament: Flashlight - first use of synth bass" - without which there would have been no sequenced bass - and why sequenced bass, why not just sequenced stuff, surely he doesnt believe sequencers are only used for bass - and IIRC it was an arpegiated line rather than sequenced (fine distinction I know). Daft Punk seem to get a lot of props, yet nothing he mentioned there was invented by them by any means... I'd also site Peek-a-Boo by Siouxsie and the Banshees as the most over use of tape reversal on a single (a #1 single at that IIRC) -virtaully the entire backing track was flipped before the vocal went down - killer idea! I would put Multitrack recording at the top of the list, it has had a far wider ranging effect on the sound of pop/rock than every other thing in the list. And yes, it definitely has a sound, its [i]the[/i] sound of pop. Then again I'd also put forward the sound of Neuman U87, U47 (FET and tube) and U67 mics; Fairchild, La2a and 1176 compressors; Lexicon reverbs; Studer tape machines; API and Neve preamps; SSL buss compressors; reverb chambers; Joe Osborne; NS10 monitors; tape loops and digital limiting mastering techniques ahead of most of that list. Admittedly the sound of a lot of the above is more esoteric, but they have added more to pop music in general than those few musical idiosyncarcies mentioned in that list.

Les Claypool is instantly recognisable...

Maybe I'm creased?

Man, I am getting properly jiggly here over this, the work just looks so cleanly done, and, well, good....

Best I've played was an Alleva Coppolo. Hands down. Rather pricey though!

Are the walls going to be 'stepped' then? All to do with killing any ring and getting a more diffuse reverb? Rather than aiming to bounce the sound down a path away from the engineers ears ( as in a lot of control room stuff). Or am I completely missing the point of making the poor carpenters work so hard

Well I've had a listen through das uber monitors. And then to make sure I wasnt going mad I did some measurements, and applied a very neat FFT EQ to cut out all but the bottom note of each pair of chords. And the results made me sit up for a bit and have a long think. The truth is the fundamentals go:- D D D A But, the fundamental note is significantly lower in level than the rest of the tones in each chord, so [i]dependant upon the quality of your monitoring[/i] (more than anything else at all!) the chances are you wont hear the fundamental, or possibly the tone above it in one of the two chords each time, so you will hear the two chords ascend when they actually descend, or vice versa. My Sennheisers arent up to the job at all then

The thumpinator should help a lot. The advice above is excellent, but you dont mention your budget, and without that , when it comes to rack compressors we cant be sure we are in the right ballpark. In order to be a protection against dangerous spikes you really want a limiter at the end of your signal chain before the power amp (in the fx loop is good) rather than a standard comrpessor. For one thing a standard compressor will allow (encourage) you to open the attack time up to let the naughty (but nice sounding) transient through,and that is exactly the part you need to control! Many compressor's shortest attack time comes in around 10ms, a good limiter will be 10 times quicker than that at least! If you have no care for cost then an Urei 1176 is the big bad daddy limiter for grown ups only, max attack time 800 microseconds, min attack time 20 microseconds (!) set the ratio to 20:1 or use 'All button mode' and just tickle the input with normal playing ( you dont want to see the needle move more than a couple of mm). Any spikes will be jumped on really hard though. UNiversal Audio make a licensed version of the Urei still, but a lot of people dont reckon its a patch on the original. You'd pay over £1.5K for the modern one.....

http://www.bbc.co.uk/programmes/p00gfdg1

Hmmmm, it doesnt get lower so much, in that the fundamental definitely stays the same, but it does get higher as it pops back up to the top of the sweep. Thats cool! Some very groovy/trippy/weird effects to be had with that. Can you reverse it so it always rises? The other one doesnt speed up for me, errrr what does that mean??

1,2,3 up, 4 down for me (on decent Sennheisers) Fascinating......

http://www.youtube.com/watch?v=6eTBc7aWBGw

I thought I was all done for rack GAS - you swines! Now a green one of these on top of my Berg would be utterly killer......

Hehee top stuff, well done!

Job well done! Oh and a really happy band as a result too I bet. Amazing what playing to the right level for the venue will do for you as a band

Its all about why you are using the compressor/limiter. If you are looking to fatten the tone up a bit by raising the level of the sustain phase of your bass' ADSR, or evening out the level to aid tracking on an octaver or synth type pedal then earlier in the path is good - but not normally before envelope following effects, since the compressor will change the shape of the ADSR thus changing the 'sweep' of any such envelope followers. Having said that its always worth experimenting to see if you like the result that way round! If you are intending the device to act as asafety net styel limiter for the rest of your rig, then definitely last in the chain before the (power) amp is bets, that way it will have a chance to help if anything in the chain gives a nasty pop and releases the magic smoke, causing a huge spike to hit the rig. My compressor is a rackmount, it goes in the fx loop of my amp, and evens out my sound between fx changes and technique changes, it also has a limiter which I keep on 'just in case' and because I like quite a long attack on the compressor so I let the limiter deal with over enthusiastic spikes from slapping too hard.

Suit you sir! Basstrap-a-go-go

[quote name='brensabre79' timestamp='1340379744' post='1703796'] XLR - Jack = unbalanced line at LINE level - you'll need to crank up the gain to get the same level as an XLR-XLR, when you crank up the gain of a mic you open up the pickup response pattern, making it more omnidirectional and prone to feedback (simple version). [/quote] Nah mate, dont agree. You may make the gain so high that even with the pattern of the mic its putting enough level out to 'hear' stuff from the sides, but the fact remains that the level in the hot areas is still just as much louder than the level from the sides as it ever was. And that ratio of volume on axis to volume from a different direction is all the polar pattern describes at a given frequency. Lower frequencies (being more omnidirectional) are less affected by polar patterns ( you ccan see this in action on polar response graphs that show multiple frequencies).

[quote name='Rimskidog' timestamp='1340398290' post='1704147'] Heheh. Just spotted this: Love it! This made my day! [/quote] My pleasure

http://www.youtube.com/watch?v=Pgk0_nWOQ8g

How can a pedal cost that much exactly? Must be some damned expensive wood on the side I reckon.... [size=2](and yes this is entirely born of pedal envy, always wanted a couple of Moog filters, but cant justify the expense )[/size]

[quote name='Monckyman' timestamp='1340351356' post='1703059'] Sennheiser E840. Great for vox,main or BVs. App £60 new [/quote] +1 or an E835 if it suits your voice better (effectively they each have their own sound, the 840 was supposedly more sm58-ish, the 835 more sm57-ish, well kinda) Damn fine mics for live for the money IMO

[quote name='Rimskidog' timestamp='1340307246' post='1702754'] Thanks man! Glad you are enjoying it! Swing by sometime and check it out in person! No. I've got that, 'oh my god, if it isnt open in time for this record I'm gonna be hit with penalties' kind of a feeling... [*we need a puking smiley here*] [/quote] It will be a space to record in, soon as the power and lines are in you can track in it, you can mix in it with some bales of rockwool if you ahev to. You'll get there mate, you know you will!

UNless you have a nice compressor or overdrive or distortion to add level where it drops off of course