51m0n

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

Go tthat expectant father feeling about it all yet then?

[quote name='charic' timestamp='1340193865' post='1700720'] Swimming not your strong suit? [/quote] I swim like a well turned out killer whale, just not whilst losing control of my bowels and hollering in a poor impersonation of a one man s**t storm....

Some great posts in this thread. Monckyman hits the next stage up from just a vocal PA to a decent live PA rig squarely on the head. Point to note though, even if you spend your life playing with a huge PA, getting used to playing to a very reasonable stage level will only ever help the FOH sound and your ability to hear yourself and everyone else on stage. Also if you are reliant mainly on FOH then space permitting it can make a lot of sense to use you backline in a more sidefill setup (ie not pointing straight at the audience) and let the PA really do that job - especially useful with guitars IME.

These chaps turn up a lot in practice rooms round this way, and to be brutally honest I find them really hugely underpowered and underwhelming, to the point of struggling to keep up with a drummer not using knitting needles and a guitarist with rawk in mind. May just be me though.....

[quote name='charic' timestamp='1340191766' post='1700638'] My singing turns other peoples bowels to water [/quote] I'll never be in a choir with you then.....