51m0n

Bit surprised that no one has mentioned the Zon Sonus yet..... (or the Hyperbass - ducks for cover!)

Whatever you do, spend a good while trawling through this forum. [url="http://www.gearslutz.com/board/studio-construction-acoustics/"]http://www.gearslutz.com/board/studio-cons...tion-acoustics/[/url] Especially the stuff on bass trapping and absorption for the live room and the control room too. There is a mass of really really good info on that forum (not without its crud though I'm afraid), serious bass trapping is a must in any smaller space, and getting the room treated as well as possible will make recording far easier and mixes far more likely to translate, regardless of your monitoring solution. Cant stress this enough! If you need a little encouragement check these two build diaries out (droolage):- [url="http://www.gearslutz.com/board/photo-diaries-recording-studio-construction-projects/161575-manifold-recording-studio-construction-thread.html"]Manifold[/url] [url="http://www.gearslutz.com/board/photo-diaries-recording-studio-construction-projects/341598-bridge-recording-studio-build.html"]Bridge[/url] Enjoy!

Hartke LH500 for the amp, try and source a second hand Barefaced Compact maybe?

Fields of the Nephilim - The Nephilim Cracking bit of old school goth nonsense

Don't know what to say that hasnt been said before, deeply saddened to hear about this, my sincerest condolences to you Ros, and all Si's family and friends...

The slapping was OK, kinda repetitive - but pretty good for his age, yes I've heard others this age manage that kind of thing - but the solo at the end was pretty fine wasn't it!

Re: Speaker stands:- I've had blinding result bolting up to three concrete breezeblocks together with coach bolts, costs less than £10 ea. if you look around, weighs as much as a neutron star and looks cool in an industrial way, or really really cool if you spray them black (but that costs a bit more)

Nice one!

[quote name='Ou7shined' post='931115' date='Aug 20 2010, 04:42 PM']Thanks. It makes me cringe too. However as I said (shouted actually) in post #1, I ain't a singer and this version was only an "audio-sketch" for the guitarist to learn from. But if that's your only critique then I guess I can live with that. I'd be upset if you thought the bass playing was gash [/quote] Hmmm Reaper does have an autotune VST built in you know..... ReaTune IIRC

[quote name='Ou7shined' post='931103' date='Aug 20 2010, 04:29 PM']Neat tip. I'll check that out. [/quote] Another variation is to go out the room and listen from next door Another variation is to listen on many systems The best solution is to get a really good monitoring package, and acoustically treat your mix room properly (doesn't actually have to be as expensive as you think to do this) and listen to a lot of music on that system in that space, then do the above too Finally send your finished mix to be professionally mastered! I know this is an expensive choice but if it is an important mix it really can make an massive difference....

OK its all gone quiet out there so I'll spill the beans: STE_001 is the Markbass -> Berg rig STE_002 is the LH500 -> Super12 rig IMO neither sounds remotely dull or like a generic 15 (surely that was a wind up ?) but whatever. You can hear masses of top end off those cabs (admittedly rather fizzy from the OD pedal but hey its there), and both rigs did a brilliant job of getting the sound that was wanted and drowning out the rest of the neighbourhood in bass. Alex and I both noted that the Berg goes deeper (port tuned lower I think) than the super12, but you can certainly eq plenty of bass into the super12. Its a very nice sounding cab guys, I'd happily recommend it to anyone looking for a loud but really pretty portable solution. The BigOne is a hell of a cab though..... Once again thanks to Alex for the time and kit to do this!

[quote name='Ou7shined' post='930829' date='Aug 20 2010, 12:39 PM']Noob question, what's a two buss? :blush:[/quote] Any group you set up will have a stereo output. In old mixer parlance that is a two buss. As in two channel buss. The main outputs from a mixer are also a two buss, and therefore often get referred to as [i]the[/i] 2 buss

[quote name='Ou7shined' post='930809' date='Aug 20 2010, 12:23 PM'][b]I find your mix a little too bright for my ears. Do you think mine lacked top end?[/b][/quote] No, but like I said that was a five minute job cranked out on a pair of cans for a laugh, to do it seriously would take a [i]bit[/i] more time Having said that I think your vocal lacked some presence, and could have been a bit louder to match more 'radio orientated' modern mixes. Not necessarily wrong by any means, but not as forward as you might want.

[quote name='Ou7shined' post='930820' date='Aug 20 2010, 12:32 PM']Will check that out, thanks. It's not even a drum machine, it's just my Korg PX4D (my constant jamming companion ). I know it sound pish but I was surprised at how "acceptable" I got the 2 loops to sound - especially the transition between them. Will I be able to use the vst in Reaper?[/quote] Yes It can be made to sound new or old school just by learning how to compress and eq and what mics to favour etc etc, I like it since it leaves a lot of creative decisions up to you, and you can learn a huge amount about mixing drums from it. WHen you add it to a track it adds about 9 tracks for the various mics in a folder under its main track, you can add fx to any of those tracks (ie the snare, or the kick or the overheads, or room mics etc). With some creative grouping in Reaper you can have all those tracks grouped, a set of fx auxes for the drums alone, and a group around all of the above for a gentle buss glue comp or whatever. You put your midi items on the main track and out comes beautiful drums! Its a genius DAW is Reaper!

[quote name='Ou7shined' post='930809' date='Aug 20 2010, 12:23 PM']Nice one. You're absolutely right about the lack of reverb in that track. I have some on the backing vocals to give them distance from the main vox and a minute amount of "small room" on the guitars (I think you can hear it in the bass intro) but again it's one of those things I need to learn about. I was worried about the kick before. I'll notch down a bit. Cheers. I find your mix a little too bright for my ears. Do you think mine lacked top end?[/quote] The kick isn't too loud, its fighting the bass, set up a compressor on the bass, but make it listen (key listen or sidechain) form the kick, when the kick happens it will duck the bass just for a moment) Reverb is a must, and delays too but the devil is in the detail!

Oh, and bin the drum machine, download Bluenoise MyDrumset. Its a free VST, gives you acces to a pretty well recorded Ludwig (IIRC) but you get to throw your own effects on each mic, which means a genuinely more realistic result IMO...

Couldn't resist, here's a cheeky bit of mastering for you Couldn't bring myself to smash the thing to bits a la Stadium, but its pushing pretty hard, bit of eq'ing, some (very subtle) saturation, and a fiddle (subtle) with the stereo width too. All done in 5 minutes on a set of cans, so it may sound plop in the real world! All done in the box, no expensive hardware kit used at all. I am nothing more than an amateur hack at this at best, but I enjoy having a go! Damned fine first effort though. You've got the most important thing right, its a catchy toon, cant underestimate the importance of that. Its a bit dry, maybe, but the kind of reverb you need would be a gluey ambience type of thing (possible on everything, even just on the two buss, but very very very subtle) that you dont so much hear as feel. You could duck the bass off the kick too, so they aren't fighting for sonic territory so much. Going to mp3 is not the way to glue stuff together, its a pretty nasty process sonically. A decent bit of buss compression will sort that out far better (alongside the ambience verb). May only need a couple of dB to make it come together. Another nice trick on a group buss is some tape saturation emulation (again subtle). You should be able (depending on the DAW) to program level and effects changes on a single track, should you wish to, but it is often easier to split the tracks as you suggest. Watch out for the crossover curves if you do this, you will want them super steep!) Mixing quiet in the box is not bad thing, Mastering guys often like a mix that peaks at no more than -6dBfs to give them headroom to play with, and there are some pretty high profile advocates of recording and mixing very quietly (providing you go for 24bit).

[quote name='Wolverinebass' post='930294' date='Aug 19 2010, 08:57 PM']That Big One sounds great. Really, really good and clear. Certainly didn't sound muddy to me. The playing is rather good as well. Top!! [/quote] She's only been playing a year and a bit too...

[quote name='Protium' post='930206' date='Aug 19 2010, 07:29 PM']They both sound like a dull SS amp through a generic 15" cab in an acoustically bad room, but I voted number 2.[/quote] In what way dull? Dull as in not bright/toppy, or dull as in untinteresting? The room is no worse acoustically than almost any room that size (small), and better than a fair few rehearsal rooms I've had the misfortune to be in. Certainly on a par with most venus though. With the mics about 4' from the cab picking up everything then you are mostly hearing the sound of the cab in that room, which would be what your punters hear - which is the point of the recording to be fair.

[quote name='alexclaber' post='930053' date='Aug 19 2010, 05:05 PM']You can very clearly hear the difference between the Big One and the other two![/quote] Not half! I reckon its the ultimate 'butter' sounding r&b/funk fingerstyle cab I've ever heard (well maybe the Berg NV215 was as good). Utterly gorgeous thick sound with all the articulation you could ever want. I love that cab, if I win the lottery I'm having one with a tweeter (+ attenuator)

[quote name='josh3184' post='929934' date='Aug 19 2010, 03:38 PM']I voted 002 due to the slightly better bass handling imo. It was definitely my favorite whichever it was [/quote] Ooooh that's interesting, how you've perceived that in the mix is different to how it was in the room. Actually I'll give you all a clue, #1 went deeper, #2 was more prominent in the low mids, and gives the impression of handling more bass. If you listen on serious speakers you can hear #1 go deeper in the second section than #2 does, but in the first section #2 sounds fuller, because its more lo-mid prominent. I love all this, to be honest that wasnt much help as a clue When do you want me to reveal the truth then?

[quote name='ShergoldSnickers' post='929903' date='Aug 19 2010, 03:08 PM']Thanks 51m0n - appreciated.[/quote] No problem mate!

And he is the LH500 into the BigOne without any OD Pretty much all the above still applies though. Still damned fine bass sound IMO...

OK here we go, after much mucking about he is the LH500 into the BigOne. A couple of notes for this, we were struggling a bit with getting volume into the front of the amps because the bassist was such a gentle player and theSR300 it turns out is a very very low output bass. As the LH500 has np input gain in the end we just plugged into the passive input on the LH500, and all was well. Unfortunately we probably were so worried about getting enough volume that we may have got a little bit too much on this one. So the bass is a bit loud in the recording I think, however this is where my eyeballs were going fuzzy, and the BigOne was pushing huge amounts of air out of the ports - the guitarist commented on this and he was on the other side of the room (not a big room but hey!), he could feel a breeze at about 7 feet away. In conclusion the LH500 will drive the BigOne to very very high levels given a decent input level (no seperate input gain you see), easily enough to gig with, just dont be afraid to really dime the volume and give it the beans!

Roof top, midnight +1 minute New Years Eve '91(?), stopped all the taxi's going in or out of Brighton on the London Rd due to the number of revellers dancing in the road - till the police turned up.... oops