51m0n

Ever thought about the distance from the back wall of the stage? You can get great or bad additive effects as a result of the reflection off the back wall interacting with the direct radiation from the front of your rig. Best bet is to get the front of the rig less than about 2.5ft from the back wall (gives a nice positive additive boost down in bassist land. If the rig is between 3 and 8ft from the back wall you are going to be causing grief somewhere in the bass through low mid areas, which may also result in an overly boomy sound (since they arent being cancelled out) in the room. Over 8ft from the back wall and you [i]should[/i] be fine (from this phenomena).

Drummer doesnt know dick about sound then. Tell him I said so

July 16th IIRC as it goes through Brighton, they get a ten minute slot, in front of an expected 10000 people (so I am led to believe), which will be totally cool!

Totally agree, just went beserk on the audio engineer GAS for a second. Back to normal now, feeling much better, had a quiet 5 minutes with a nice Single Malt, all better now, honestly

Well filling a room up with bodies does significantly change the amount of absorbative material in it* Effectively it turns the playing ares in to a huge full range absorber, which really truly does clean the sound up significantly. Its not going to mean jack to you on stage, but you'll be pleased to knwo that the first three rows will get great sound, which will get progressively worse through the audience toward the back, unless the PA is properly flown (up high, above the great unwashed - thats the band) so as to ensure some top end gets to the back of the auditorium..... * Best to use fresh ones though - they do whiff when they go off....

Yeah I was thinking if you went the route of something like a vintage Neve pre, into an Fairchild 670 compressor you'd be getting well into silly money, then into some ungodly power amp suitable for mastering engineers and billionaires only on to some custom made uber cab by the likes of PMC, you could easily be topping 50 or 60 grand.... Cant imagine it would be worth the cash to be honest.

Saw Plux play with the Brighton Music Service Big Band for the first time properly on Saturday. He's only been with them 6 months and its the first time I've seen them 'heading the bill' as it were. He normally plays only the tracks that require double bass, since they have an electric bassist too, but the other fella couldn't make it, so Plux stood in on electric duties too and played the whole set, even though he doesnt normally play those parts at rehearsal. Busy night, he certainly worked hard! They had great sound on the night and played a fantastic set, which I recorded from way back in the audience, once I've sorted the recording out (its hours long, got the whole night including the Concert Band's 15 minute segue through The Jungle Book, awesome stuff!) I'll stick a link up to it. He played brilliantly, and totally owned it - fantastic rhythm section with him, the drummer and guitarists who provided an absolutely solid swinging foundation for the horns to let rip over the top of. Amazing night seeing so many of his contempories playing fantastic music, many of whom came up through the Brighton Music Service with him from something like 12 years ago, and have gone on to become really excellent musicians. Well ddone Plux! You can hear the tracks here:- [url="http://soundcloud.com/51m0n-1/sets/brighton-and-hove-youth-big-1"]http://soundcloud.co...ove-youth-big-1[/url]

Top work Clarky! Well done mate, 7 songs for the audition? Crikey!

Dont forget the camera for that!

Nice stuff Mike! I used to have a couple of those Laney cabs way way back too

Commiserations, and congratulations, in that order

It means that out front it sounds tighter and better defined (assuimng the room acoustics dont shoot that down in flames too).

I was referring to the blockwork Clearly once thats done there are still a couple of bits and pieces to do, but nothing much really Stop whinging , some of us are jealous....

A decent sound to tape is not too hard. Getting that sound to sit right in the final mix, with everything else going on in the arrangement, such that it still sounds like the same sound, and doesnt step on the rest of the arrangements toes unduly..... ...thats the magic bit

So 2 out of 3 are nearly done? wowzer....

Play him Hazy Shade of Winter by Simon and Garfunkel - because I bet thats where you'd like to be in the mix.....

Get a DI to go into the mic input on the interface?

This one is just superb:- [media]http://www.youtube.com/watch?v=rej9RD6rPp4&feature=autoplay&list=UUgCIM3TsDAA5K48X-q7t-pg&lf=plcp&playnext=1[/media] Dig the choice of footwear whiolst drumming - it may well catch on

Thats very very cool. Love it, thanks

Love Bernard, totally killer basslines. Stu's book is excellent, as much for the history lesson as the detail on the tracks themselves, highly recommended!

Definitely try some good quality new strings first. Could save you a tonne of cash.

[quote name='CraigyJ' timestamp='1332084955' post='1582932'] Many thanks for all the advice guys... All makes sense. Think I will go the way of fitting a decent pup and ditching amplitube for the bass track and see how that goes. I think I'm doing most other things pretty much ok...I run high pass filters on all other tracks, guitars, synth etc to make sure there is nothing fighting the bass for space. The biggest problem I've had is that anything played on the low e is really muddy...the other strings sit in the mix fairly well but that low e is just so boomy...by the time I've taken all the boomy frequncies out there is nothing left. Hopefully a decent pup and a new set of stings will help...!! CraigyJ... [/quote] Dodgy string? Dodgy setup (pickup height) ?

[quote name='Pinball' timestamp='1332066971' post='1582639'] Am I right in thinking that provided that for recording that its important that the bass gives a good clear sound but it isn't as important to have wide tone variations. My thinking being that if you have a good "raw" sound track you can mess around with it afterwards? [/quote] You cant polish a turd.....

Thats a lot of blocks! What does that lot weigh?

[quote name='Monckyman' timestamp='1331939518' post='1581355'] Optimum gain settings (your method) mean driving the rest of the circuits to the best of their design ability and in my opinion will always sound better than altering your whole gain structure simply because you want to alter the volume. [/quote] +1 Absolutely bang on. Sometimes its worth backing off the inout gain a tad more than necessary and bringing up the power amp volume to compensate, some circuits do sound a tad sweeter like this IME when recording the amp but its marginal at best. The general rule of thumb for gain staging an amp is master down very low or off, set the input gain to the clip light (the exact detail of which varies between manufacturer, DO check the manual), then bring up the master up to required volume. Everything is running with the best signal to noise ratio possible for a start, the power amp is being delivered an optimum signal and so you can reach the maximum amp volume, and any inbuilt compressor (ugh!) will be fed the right amount of gain and therefore do something (probably horrible, but I digress)...