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[quote name='neepheid' timestamp='1338372594' post='1673357'] I swear by Fenders me, as far as I'm concerned they're the only basses worth considering, all others are failed derivatives of the original blueprint. [/quote] And you drive one of these:- And live in one of these:- How did you ever even get on this forum?

The Roscoe, its a total workhorse, provides really fantastic tone(s) that fit in the mix and is a delight to play.

[quote name='Cameronj279' timestamp='1338371539' post='1673336'] This guitarist just sounds like a typical guitarist to me I.e. "what I write is always best and bass is unimportant". Don't let this get you down, just try and find another guitarist to start a band with, one who isn't a bit of a knob [/quote] You may have just entirely missed the point....

There's been some very goo dpoints in this thread. My 2 penneth worth:- You never really heard it all together with the vocals, it could easily be that the guitarist and producer are bang on and what you wrote without the vocals sounds great, but fights them and is detrimental to the song as a result. Its happened to me in the studio before, cool as f*** b-lines with the entire band were even better for the song when they were entirely cut out and the singing was there. You have to do the right thing for the song, put aside your ego, suck it up and be a pro about it. That is always the right thing to do - especially when its not your project, you are a sideman on bass unless you start the band I'm afraid. The producer is responsible, not the guitarist, for pointing out that stuff isnt working, if he hadn't it would be his fault that its not working. If you weren't there to fix it, who do you think will? Whoever can lay down what the song needs and is present. As for lack of cimmunication, put the boot on the other foot, someone is shelling out for expensive studio time, and needs to get this sorted asap, do they get on with sorting it out and just fix it, or do they waste time and money seeing if you can get back on board. Sorry to be harsh but I know what IO would do if it were my money being spent. Things to take away from this:- Always try and write basslines with finished vocals in place, otherwise you [i]will[/i] step on the toes of the singer, and that only ends in bass parts chaging or being muted. Thats how songwriting arranging and mixing work in the real world. Never forget that at mixtime the final arrangement is caste in stone, and if something doesnt work it gets muted. Have a listen to the bass part on Prince's "When Doves Cry" for an example of exactly that happening..... If you arent adding to the arrangement you are taking away from it - less is very very often more, and better for the song as a result. Al lthe clever licks and fancy bass parts dotn mean diddly if the track isnt pumping or doesnt feel right. Dont give up, learn from this. In the studio, if you cant lay it down completely convincingly as the bassist, it will really be obvious. If you are having trouble nailing a part you arent prepared, if you arent prepared then expec tthe part to get cut as it isnt working in the final mix. Lastly dont be so precious about it, this is really hard I know, but instead learn to be a team player for the band and more importantly the song (bands come and go recordings last for ever).

He's properly "got the bug" then, nice one mate!

If you want to be trying to break new ground in the drum and bass/dubstep area then you have pretty much no choice... http://ourhelicalmind.bandcamp.com/album/analogftw-ep

[quote name='dincz' timestamp='1338296174' post='1672264'] I don't think anyone's arguing with that - at least I hope not. [i][b]The point is that if meaningful and accurate figures are available[/b][/i], and if they are interpreted by someone who understands what they really mean, then it's possible to predict which amp is going to match your needs - in terms of output power anyway - before handing over any money. Tone is another thing. Clinical, warm or fluffy are not meaningful specifications. [/quote] Well there you have it, Watts [i]alone [/i]doesnt come close to falling under that description, its a small part of a far more complex situation. You can take a very very rough guideline along the lines of [i]300w[/i] of [i]clean[/i] power as reported by a completely honest manufacturer ([i]there's a serious get out of jail free card![/i]) running through a large format cab at optimum impedance [i]should[/i] be ok for most pub gigs and smaller stages [i](caveate being that there are a million reasons why it might not be enough so dont even begin to use this as gospel!!!!!)[/i] Fact is ratings for amps and cabs are the job of the marketing department, not the engineers in the r & d department (TC Electronic anybody?) and as such are almost always generous, incomplete, and frankly obfuscatory to the actual truth when you get down to the nitty gritty. Otherwise we wouldnt be in this thread at all, because theere would be no confusion. Go ask Alex at Barefaced what he thinks about all this!

No, I think what is being said is:- [indent=1]Enough real world volume for your gig is everything[/indent] [indent=1]Power measurements (and cab sensitivity for that matter) as expressed by manufactureers in watts is nothing - since it is so totally oversimplifiying the truth as to be meaningless on its own as a measurement by which to tell if a setup is actually fit for purpose.[/indent]

No watts are what the marketing department of all sorts of amp companies have lead you to believe is a perfectly good descriptor of what you can expect from a piece of gear. In fact it isnt even close. It doesnt take into account frequency, it doesnt take into account driver sensitivity or displacement or the efficiency of the cabinet design. It doesnt take into account the behaviour of the amp as you approach overload overdriving very pleasantly to give more apparent volume (the old 'tube watts' myth) verses sound like gash (nasty solid state distortion). In fact its almost totally useless. You can have a 1Kw amp driving a couple of 8" drivers in a sealed cab the size of a shoe box, it wont be loud enough to gig with. You can have a 100w tube amp driven hard into a pair of 8x10s - chances are it will be plenty loud enough if you arent after clean output.

Not jealous, no, not at all....... Brilliant times Jake, bet your son just can't believe it (bet his school mates [i]really[/i] can't believe it, or don't even begin to understand how lucky that is!)

Any decent compresor will be good for both. Markbass Compressore for instance should be perfectly excellent on guitar, or the Joe Meek FloorQ, which is a studio compressor in a pedal would be fantastic.

I will find the time, I promise! And if I win the lottery I will be making my own one of these, on a similar scale

[quote name='chrismuzz' timestamp='1337799947' post='1665733'] That would explain why every time I used an Ashdown 4x10 my amp went into thermal protection mode and switched itself off [/quote] Could also be if the cabs impedance was a little shy of what the manufacturer claimed, I know this caused issues with some other cabs and Markbass (I think its was EA kit, but I may well be wrong) that was supposed to be *ohm, but in reality was closer to 6Ohm and if you plugged 2 into an LMII it did the full on thermal protection cut out thing. Maybe a dodgy driver in the cab was causing havoc with the impedance (purest conjecture)???

Yeah the LMII -alike fixed frequencies bugs the s**t out of me too, hence the sa450. I couldnt care less about the size difference, either would be rackmounted for protection anyway, and they both weigh less than fart in a can.

Not at all, decent interconnects (*ie neutricks phonos and good quality cable soldered well), a decent amp into decent monitors (with good crossovers and great tweeters naturally) with sensible speaker cable (13amp mains cable would be fine - high frequency power demands are pretty tiny) will suffice, as long as the DA converters on your sound card can handle the frequency they are attempting. This is not rocket science and no one is making stupid claims. All that is being said is you absolutely cant make any assumptions of something as completely flawed as a PC attempting to play back unweighted tones that are stored in a lossy medium that by its very nature can not support those frequencies at all anyway. You cant hear it if it iosnt there, or is so quiet as to be less loud than the inherent noise in the system.

If these files dont take into account Fletcher Munsen curves then they are utter bull as well....

I'm not super keen on the Markbass cabs, but an LMII or sa450 with the Berg ae410 and the sound is utterly superb However the LM800 is not the same beast as the LMII, LMIII, sa450, at all, it is far closer to the SD800 or SD1200 since it use a digital power amp (the same unit as the sd800 I believe), and all the 'real' LMII family use an analogue power amp. It just has the cut down features of an LMII in terms of eq. That digital power amp may seem like a tiny difference to some but tonally and response (ie the 'feel' of the amp while playing) its a completely different animal. The SD range and the digital power section LM range are supposed to go a bit deeper than the analogue power amp LMII, they are supposed to give you a sense of the extra power and all that. The transients off these very high power amps are huge for one thing. Another point to note is the limiter issue only exists in the analogue power section variants (so not the LM800) as far as I have heard. However that power is also quite capable of being detrimental to the final sound if the cab you plug the amp into really cant cope with it, and IME of trying out MB cabs a 5 stringer can exceed the capabilites of the cabs to deal with the power of the more powerful amps, and things can defintely start to suffer as a result, I would however, love to have a go with one of the really big MB heads through a Barefaced BigTwin. That may well cause damage to internal organs!

If you want to generate test tones download foobar2000 If you put tone://frequency,time (where frequency is the cps or hz and time is duration in seconds it will generate that since wave. You can store these in a playlist, then convert them to wav, burn them to a disc and play them back on your stereo if you are in any doubt about the quality of the electronics in your PC/soundcard. If you have a high end soundcard and decent monitoring you can of course just play them direct. The difference to what you can hear when playing back through something appropriate is massive (naturally).

I dont think it would be possible. What you might be able to do is get the individual tracks off the Yamaha on to a mnodern PC, and from there the world is your ostrich. What you have is a perfectly acceptable and cheap (though very dated, and by today's standards limited in power and quality to quite a large degree) means of recording and mixing the stuff you do. I am not knocking it, I've done perfectly repsectable work on far less powerful kit. And getting something to work for tracking for less money is pretty tricky. Although the Zoom R16 can be had for less than £300, and mixing can be done on that device or its trivial to import the tracks from teh SD card to a PC for mixdown. However a truly seriously powerful desktop PC can be had new for around [url="http://www.ebuyer.com/338540-zoostorm-premium-desktop-pc-7873-0408"]£570[/url] these days, add a decent audio interface (yeah I know, money trap or what!) and you can be tracking and mixing in the DAW of your choice.

This isnt a test of hearing so much as a test of your PC audio card, and the speakers you are using.....

I will say they that those particular MB heads tend to produce a slightly warm very clean tone, they arent' uber clean (the F1 F500 and other digital power amp section amps are far cleaner) in fact, buit stay very very true to the bass that is plugged into them all the same The eq and filters are really nice, although the sa450 sweepable mids make the eq section far more useful for me. They arent very genre specific at all - if you need grit stick an appropriate pedal in front of them....

IIRC the updated limiter did not find its way into the LMIII in the end. However that issue only arose when driving an 8 Ohm cab hard, with a reasonably sensitive quality 4Ohm cab there is no problem generating very large amounts of volume from that range of MB heads (the LMII-alikes, digital power supply, analogue power amp).

I think you're wrong, not my experience of MB heads into great cabs at all. Driving a suitable cab they are excelletn amps for all styles of music, IME and IMO.

Not even close to halfway decent compared to a lot of the people on this forum.....

[quote name='guildbass' timestamp='1337706508' post='1664339'] I'd love to find a room that worked well but without such a luxury it's much nicer to record 'dead' and put the room on afterwards. We recently set up in a house and as soon as I cranked up the old MD409 the room just crushed everything...the ceilings were too low for starters. I've tried in churches too...It IS lovely but you need a time to get the 'room' mic'd up as well as the talent... [/quote] Agreed. Finding a good room where you can let rip is (that you can afford) is a complete swine. Guerrilla recordings are great fun if you can find somewhere good though.