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[quote name='DanOwens' post='1102179' date='Jan 25 2011, 02:36 PM']I play in a very busy band ([b]Our synth player likes 5/6 channels and our vibraphone player has constant feedback issues[/b]) as such, I've grown to be not too fussy about things. I've taken my own engineer out with various projects and even then there are issues with time and the house PA. We've all got our own way of being happy. Mine is to just chillaximum and accept that if the sound guy's good he'll get a good sound using his own methods and if the sound guy is crap then it doesn't matter where he takes a DI feed from, it'll sound crap anyway. Dan[/quote] Sounds like "soundguy hell" right there!

Like I said, have a nice amicable chat (should take about 2 minutes) to said sound guy. Let him know you are more Motown/Jamerson thuddy than bright and clanky, and you want to stay that way, "all about the low mid punch and warm bass" may be a nice way to put it. You should not do anything different on your bass, or your amp. He can eq the top and upper mid out of your raw bass signal on the DI without any problem at all. If he has a mic on the amp to capture the driver and the amp break up he'll sympathetically mix that with the DI. I can do this in a couple of minutes. One other point, he may not have enough channels to give up two for bass.....

If you arent out front then you dont know what it sounds like out front. You cant even be 100% sure from the reverb tail you may hear. The engineer (if he is any good) should be willing - if he has time, and there is a decent reason to - to put a mic in front of a cab as well as a DI. If he doesnt have time, then tough luck. Time to blame the guitarist, drummer, vocalist, other band, traffic whatever, doesnt matter, you havent got time! As far as I'm concerned a DI off the bass (with said mic'ed cab) makes more sense than a DI'ed amp, since the amp may go 'pop'. That DI is going to be mainly used to extend the bottom end down (close micing a driver will be relatively mid heavy compared to the soulnd of your cab as a whole), and maybe the top end up a bit too (for those that like some tw***). The amp DI alone, if its got some drive, will sound crappy as, it wont sound decent unless its gone through a driver. If its clean as a whistle then why not cut out the amp? You will eq your amp to sound how you want it through your bass cabs. Guess what, the PA isnt using your bass cabs, so it will have a different frequency response, so your eq will be useless, probably damaging to, your perceived sound. If your amp allows you to go pre-eq then thats a help, but its still another thing to fail. A mic in front of a driver is the only way to capture some of the sound of your rig. An engineer may come over and have a listen to your bass rig, or not, dependant on the acoustics in the room he may not really need to to hear it any better than from the desk. Unless you use a lot of tubey overdrive or fx of some other kind you dont need to have the amp in the chain to the desk, if you do they need to be included in the signal chain, and the best bet is a DI before any overdrives if possible, and a mic on the cab. Do not p*** off the engineer, your mix will suffer. If someone got aggressive with me about how they thought things had to be set up, they wouldn't be playing that night, or any other night. Engineers get a lot of stick. Have you ever done any engineering? It is no where near as easy as you think. It isnt made any easier by people who dont really know what they are talking about trying to make unrealistic ill informed demands, and then making it impossible to achieve those demands by their own actions. For instance turning the bass up real loud just means everyone else is quieter in the PA, chaps, bass spill really is omnidirectional! I can promise you that if you try to make me engineer by 'taking your sound and making it louder' the end result will sound crap. Really. Unless your entire band understand frequency mixing, and have carved all their sounds to take this into account (you will need an electric kit to do this) then you will just put out a massive mush of noise with no clarity at all. The last thing you actually want is your sound but louder!

[quote name='Rich' post='1097353' date='Jan 21 2011, 12:15 PM']Mmmm, Focusrite... *drool* [/quote] You can pick these up on flea bay at ridicuolous prices if you are willing to wait around... And they are killer compressors....

[quote name='DazBoot88' post='1097495' date='Jan 21 2011, 01:42 PM']Sexy Mexican Maid is an amazing song. It's got a real dirty, gritty feel to it which i love. The whole Mothers Milk album is a work of art![/quote] Its 'real' funk - that is music made to f*** to....

Cant see me making it either, which is a shame, I'd love to see that band, although apparently the bassist is a cheeky bu**er I've heard Have a great gig Jake!

I dont own a BF product since I already owned my Berg ae410 when I first heard about them. There is no compelling reason to me for trading across to a BF from that cab. If I won the lottery I'd be getting a BF212, Berg212 and a BF BigOne, since they are all on my would have if I could have list (as well as the rest of the Berg range). Not a lot else is on that list, by the way. So having spent a fair amount of time listening to and comparing BF cabs I think I can comment on them fairly accurately. Happy to be corrected by ALex if I get something wrong though. I would urge anyone looking into 212 cabs to try and give a Super12 a go, they are really good. Whether they will be definitely the cab you want is unanswerable by any but the asker. So get out and try some!

Soul To Squeeze is my all time favourite song, and my partner's too. Its so good I'm going to embed it, so there :- I'd say that Flea and the Chilis have always shown this level of playing, but people didnt focus on it, due to the socks on c*cks thing I think. Here is my evidence:- Sublime playing all round, and equal parts funky, beautiful and melodic.

Oh give it a rest chaps. It is the lightest 'big' cab (and it is big I assure you) I have ever tried to lift. Its downright silly in fact. It is definitely in the light weight class generally, and specifically for a cab this size its a featherwight. It delivers massive massive output if you give it enough watts, which in todays environment doesnt require a particularly heavy amp. The tone is sublime. Alex is on the money on all of them. You're starting to sound like a bunch of schoolboys.....

[quote name='EBS_freak' post='1097298' date='Jan 21 2011, 11:44 AM']Ah. OK, so what you save in super-lightweight cabs, you make up with super heavy poweramps. Anyway, we are going off topic, back to 2x12s![/quote] Well I dunno about that - massively powerful modern PA amps are more often than not Digital, sound the beans and are no heavier than an LH500..... Basically a 1K amp into the BigOne will knock walls over. With a beautiful tone

[quote name='EBS_freak' post='1097265' date='Jan 21 2011, 11:24 AM']More than 500 watts? What? ...for a single cab? containing a 15 and a 6... that are crossovered? Again... what?[/quote] I'd agree with that, the BigOne requires big big power to get it to really be hugely loud. 500watts is not going to make it break a sweat.... Thing is, it can handle that massive power. Unlike anything else I've heard. So its really not very efficient, but goes VERY deep (far deeper than anything else I've ever heard), and given a huge dose of power will happily get very very loud. It sounds gorgeous though. The Super12 is far more efficient, though not as deep. Very punchy (will take eq'ed in beef happily at gig volumes) - sounds lovely, but different to the BigOne.

Still this:-

[quote name='jonunders' post='1096964' date='Jan 20 2011, 11:23 PM']Look at barefaced cabs as well, you could get a Super twelve, £600 - 675 and you'd still have some money left over for other little essentials.[/quote] +1 its a hell of a cab that....

I got my Focusrite Compounder of Evilbay for a little over £150. Its the canine undercarriage....

Berg ae212 Barefaced Super 12 Both are staggeringly good. Haven't really heard any others though....

The mic pres in these things are perfectly good enough for demos. Probably better than those found in a lot of desks of yore (ie early 90's) and not much worse than those found in cheaper studios today. The fact is that I havent seen a better solution for the home recordist wanting to multitrack on a budget. On top of which they are tiny, yet have a decent interface. And you can add two together. The only thing I might want would be 24 channels.... [url="http://www.zoom.co.jp/english/products/r24/index.php"]Oh look![/url] Fact is I would use any two of these to track an album, pull the result into a high spec PC and mix it using Reaper, and enjoy better results than I think could be obtained for the same outlay at any time in history. Cant say fairer than that....

[quote name='callingltu' post='1096311' date='Jan 20 2011, 01:39 PM']As I understand you need drum proccesor to use this? I only have old drum machine 808 or smth like that, but as i understand that wouldnt do the job [/quote] Well the issue in fact i sthat the output from it may be the wrong impedance, an will almost certainly not be a high enough voltage to trigger the line (or near line) level input of most key listen inputs on most comressors. If you ran it through an appropriate preamp (something scavenged from an electroacoustic guitar for instance) then you would be fine.... It is, after all, just a piezo crystal wired up to a jack, as such the compression of the crystal causes an electric current to be produced when it is deformed (by a sound for instance).

If you are really after light weight the Barefaced Super12 weighs pants all and sounds fantastic, whilst happily knocking down walls. Very very loud indeed!

This would do the job I think.... [url="http://cgi.ebay.co.uk/Yamaha-DT10-Drum-Trigger-/400188926978?pt=UK_Musical_Instruments_Drums_Percussions_MJ&hash=item5d2d1e6c02"]Yamaha DT10 Drum Trigger[/url]

Youtube to the rescue...

a 'bug' type trigger should be fine, although some/most are piezos and would need to be battery powered I think. That should be fine, until it falls off! Course you need to either re-attach it to the skin whenever drummer bod changes skins, or attach it to the shell, which may or may not work as well....

As long as you bung the mic in the kick, and point it right at the beater meets skin mark, preferably only an inch or two away from the batter skin, then you are not going to be worrying about bleed at all. Especially if you have a sidechain filter to pick the frequencies that its going to work off HINT: You ideally want the smack/click of the beater as the trigger not the thump of the drum. This is because it happens first, and thats what you need for ducking effectively. This is why you want o get the mic so close though, as the snare may well 'compete' at those frequencies...

I've been singing the praises of these bad boys for a while, they are clearly the business.... Imagine what you could do with 2 linked together though ;o)

[quote name='waynepunkdude' post='1095458' date='Jan 19 2011, 06:31 PM']Best response ever.[/quote] ithankyew!

Ask a guitarist who hasnt got a band right now, mate, you never know, you might 'convert' one of them...