51m0n

Saw the build is back on over at GS, can't wait to see what you have planned!

Guilty as charged The elbow patches must be lostin the post mate

[quote name='silddx' timestamp='1327329857' post='1509374'] It was great fun mate! Nice little venue too. A Basschatter called Dave Holden was in one of the support bands, I can almost smell a BC member at gigs Thanks for asking Si. N [/quote] Yeah, the corduroy trousers and faux leather elbow patches give it away almost as well as the pale complexion and hands fixed in a permanent claw from attempting 200bpm 16th notes with "The Garrision" technique for ten minute intervals

How did it go then Nige?

[quote name='Rimskidog' timestamp='1327251032' post='1508338'] More news on phase 2 next week, in the meantime... in more interesting news, I had Henry Rollins (Black Flag, Rollins Band) in this week cutting vocals: [/quote] Excellent!

I'd avoid any holes int he plasterboard you can., it wint help the target goal of a properly quiet exterior with the band going full tilt....

[quote name='EdwardHimself' timestamp='1327056344' post='1505671'] I was bawn wivvin th' saaand of bow bews y'knaw me ol' china. (naaah joking lol) Mate, this is looking pretty good so far. The space doesn't sound too bad really. I assume though that you're going to have to sacrifice a bit of that space in order to set up nonparallel walls within to reduce standing wave build up and all that jazz? Is it going to be just the one room or 2? [/quote] Something like this:-

I would avoid a kick drum mic (too heavily eq'ed to suck the mids out). Coupled with a decent DI any good dynamic mic to capture the mids (which is where the majority of the interestin harmonic info is) will sound stellar in a mix. An SM57 or 58 can do this fine, any decent dynamic will do though. The art is in the freqency split between DI and mic - and keeping everything phase aligned.. I'm assuming you dont want to spend the earth, if you did feel the need to splash out then a HEil PR40 is the absolute canine under carriage on bass.

Excellent stuff!

Bilbo, whack new strings on, record it and see how it goes. You will get masses more harmoinic inof that will really help, you will need to turn down the treble some and let your ear get used to the difference too though. The piano is wooden like a cricket bat mind, and I found it really distracting!

Yes you can get by with a cheap electric kit. However drummers I have talked to hate them, with a passion. They dont feel the same or pick up the nuances etc etc etc. In fact I have had the same conversation from a drummer over a top of the range Roland kit, and that is seriously expensive stuff, more expensive than doing a lot towards sorting out the acoustics within a space, which seems to be what the OP was really after. Actually sound[i]proofing[/i] a room is very (I mean massively) expensive (proper floating floors on seperate concrete slab etc etc), you dont have to go that far, obviously, but if we are talking about doing a lot to help the acoustic in a room instead that tends to actually not cost anywhere near as much if you go down a DIY route and accept that you wont achieve the same results as spending a huge amount of money on a big build. One thing you get from sorting out a rooms acoustic (at any volume) is a vastly improved ability to hear each other in the space. Now if you like working in cans then that isnt really a problem, but most would prefer to not work in cans if they can () if working towards a live gig I think. The other thing to remeber is if you do sort out the acoustic (or significantly improve it) then you can use that space to track demos in without too much hassle these days.

http://news.bbc.co.uk/1/hi/programmes/click_online/9675963.stm Now that is going to completely redefine the price of molded ear buds!

You can get into acoustic room measurement very easily these days too, you would do well to read the info [url="http://www.gearslutz.com/board/studio-building-acoustics/610173-acoustics-treatment-reference-guide-look-here.html"]here on the subject of sorting out acoustics[/url].

For improving the acoustic carpet isnt the way. You need to build some broadband absorbers, to kill the flutter echo, and some basstraps to tighten up the low end. If you do it reasonably well you end up with a double whammy, because you clear up the sound in the room everyone plays quieter, simply because they can hear themselves a lot better, so the sound is improved further. Net result, less pain, less tiredness and better rehearsals. The second bonus is you can put up a 2 track recorder in the room and get a really superb sounding recording of each practice. Building these absorbers isnt difficult, there are loads of good examples of DIY absorption panels at gearslutz.com. Basstraps are equally simple too, superchunks are trivial but take a lot of rockwool, double layer across the corner basstraps require less material but are trickier to construct:- Really low frequency bass trapping requires membrane/panel or hermholtz absorption, which is a bit trickier, but if you search backwards through the BBC whitepapers on their website they have plans for some excellent modular panel absorbers. Just remember a simple rule of thumb, velocity based absorption is anything with foam, rockwool or pink fluffy stuff, and it works by slowing the air molecules down. As such it works only where the molecules are moving, so not right up against the wall. To work at its best it must be placed the same distance from the wall as its depth (not always achievable). Pressure based dampeneing (panel absorbers) work on the pressure wave, and so work best right next to the wall where the pressure is highest and the velocity lowest. A crude example of a layout for aborbers and bass traps looks a bit like this:- The absorbers in the middle of the room are hung from the ceiling. Make them all big, at least 2' by 4', but 4' by 6' is really good. The green line represents internal double layered plasterboard though, which you probably arent looking to add to the room. It is laid out as it is here in order to help break up any parallel walls, thus heklping to diminish the effect of standing wave build up. Ideally you would go to the bother of building these too.

I like the sound of DR Lo-Riders. I've doen enogh listening to different strings (Ed Friedman did a great shootout on them) to know that its much of a muchness, but I do really like the sound of my bass with them on. However I love the feel of DR Lo-Riders, they are flexible enough without being too flexible (Hi Beams!), and far more flexible and less awkward than some (D'addario!), which I find very unpleasant to play. If someone can find a cheaper set of strings (I get mine from the states too) that sound as good (note, not the same,. just as good) and feel as good or better then I would switch. Of course find this out for myself would cost a load in discarded strings (even if they are cheaper) so its probably a false economy for me since with the use of my meths tube I buy strings every 3 or 4 years.....

[quote name='lowdown' timestamp='1326361442' post='1495868'] Some excellent [Free] Impulse Response files here for your convolution Reverb. [url="http://www.samplicity.com/bricasti-m7-impulse-responses/"]http://www.samplicit...ulse-responses/[/url] Garry [/quote] Yup they are superb, there is also a bunch of high end lexicon impulses out there if you search with the google. All the Kit Richardson work I did made extensive use of these reverbs running in SIR (4 or 5 different verbs per song, up to 3 on the lead vocal alone), and the Bootsy Variety of Sound Epicverb vst.

Love the Banshees, and when I listen to ablums like Juju, Tinderbox and Dreamhouse its the drumming that gets me as much as anything. Interestingly when I was at Stainbridge Farm I found out they did a lot of their pre-poduction there, and Bob who ran it and was a drummer himself originally really didnt rate Budgie, largely because he didnt play 'properly'. Which is exactly why I like his playing so much!

I use an H4n a lot. I've used it as:-[list] [*]a notepad for quickly jotting bass ideas down:[i] it starts faster than a full recording rig so the 'juices' can keep flowing rather than having to get right into studio engineer head and losing the musical creativity[/i] [*]as a notepad for rehearsals: [i]its exceptional in this role, coping with massive volumes and[/i] because it records to aan sd card the transfer times are as long as it takes to plug in a £3 USB to sd card adapter and mounting the volume on your machine. [*]as a guerilla recording tool: [i]have used it to track drums in a rehearsal space with a couple of dynamic mics for kick and snare pluged in and the onboard condensors as an O/H pair, the results where exceptional IMO[/i] [*]to capture classical performances: [i]it does a reasonable job at this, obviously its not a 'proper' high end rig, but it does a pretty good job of standing in for one, and the limitations are not as bad as not getting a recording at all, plus it costs less than a tenth of a high end rig[/i] [/list] I've not really used it as an audio interface though, it may be quite good at that too though. As a standalone tracking device with a very easy means to get material back on your PC its very very good though, and for the money its superb.

However if you are using it as a limiting device (ie v. high ratio, high threshold, ultra fast attack) to prevent any nasty spikes hitting your amp/speakers, then its best put after everything else since pedals (particularly filters) have the ability to cause huge spikes in signal.

S12T works great with MB heads, the Hartke LH heads and the Shuttles too IME. As for something that can do everything, well a MB Little Mark 3 and a Sansamp VT Bass would have everything you need in terms of clean verses growly.

If its a pedal I'd put it in front of the amp, if its a rack device then put it in the fx loop...

[quote name='Monckyman' timestamp='1325360867' post='1482602'] An SM58 tip. replace the basket foam regularly. They solidify over time and it affects the tone,making them sound duller and less responsive. [/quote] +1!

[url="http://www.heilsound.com/pro/products/pr22/"]Heil PR22[/url] - is an update on the 58 in terms of technology in a dynamic mic. The 58 is a good mic but doesnt suit everyones voice, try a Sennheiser e845 as an option too, really suits some male voices a lot more than a 58.

If you want lots of break up at bedroom levels get a very low wattage tube guitar combo (say 6w) and turn it up till it sounds good, it will be way quieter than a big cab and have a far bigger tone than a big cab ticking over IME.

SO what happens if you take your super flat rig into a venue that has lots of heavy soft furnishings in and lotso of people too? Or tiled walls. Do you leave it all as it is or do you use eq to try and help tailor your sound to the venue?