51m0n

Bizarre, that b-line is ingrained into my subconscious and yet I had no idea where it originated from - fantastic line!

Christ, 37! Thats such a shame, never met him, sounds like a top chap, my condolences to his family and all of those who knew him.

errr, hookers and cocaine???? oh sorry wrong thread, I'll er get me coat....

And Ed Friedland on the MXR:-

[quote name='teej' post='560037' date='Aug 4 2009, 11:22 AM']Nice one Garry, thanks for posting, I just enjoyed watching all 9 parts... [/quote] +1 That was ace!

Looking at that list, and specifically your comment re: the compact (not enough bite, loud 15) can we assume that the Compact provides a thick enough bootom end for you? If so I would suggest The Big One is what you actually need. It has more extension upwards (particularly), and downwards, is very clear and very very loud...

OK, I'd suggest either an LH500 or LMII The LH500 is a great amp, and in a 2U Gator shallow case certainly isnt too heavy, its just not featherwieght. Definitely spend on cabs, they are more likely to ruin you tone/volume than an amp IMO. Barefaced are exceptional value for money, a Compact is great a BigOne is devastating! There are several people on here running an LH500 into a Compact with great success..... That should come in unde a grand....

[quote name='Silent Fly' post='559447' date='Aug 3 2009, 05:45 PM'][url="http://www.jimdunlop.com/index.php?page=products/pip&id=254"]MXR Stereo Chorus (M-134)[/url][/quote] Yeah they look fantastic, no doubt sound superb, but they are properly expensive for a chorus arent they!

I've read this with a great deal of interest. Firstly I think you are after a very different bass sound to me. I think you would be helped a great deal by a very mild overdrive maybe, to add a bit of harmonic colour to the far cleaner sound that you are getting now. It would also provide a tiny bit of compression (as is the nature of overdrive) and that would also help. I very very rarely suggest boosting frequencies first, but in your case I think you'd be helped by a cut right down around 40Hz(ish) and a healthy boost around about 200-300Hz. I know I'm not there, I dont have your ears and I am not in the rooms you are in. These are therefore wild guesses based upon the things I didnt like about old bass cabs (including TE), that are now not an issue for me - kind of reverse psychology I have played through a Compact though, and it did actually remind me of an old TE 15 kind of sound, but deeper, and cleaner.... This may be a totally unhelpful post, - just say if it is - but Compacts do take to eq-ing, and not having a tweeter a little overdrive would go a very long way without being noticeable or in any way fizzy. As for the TE always working, I always found them a trial - weird isnt it! Best of luck with this, your tone is achievable with this gear I'm sure, its just a PIA working out how to do it reliably. I've been there for quite opposite reasons!

nope, methylated spirits - the purple nice smelling foul tasting stuff is what you want. I've been doing this for well over a year and not had to buy new strings in that period (except for a new bass) - I keep a set in the meths and a set on the bass for each bass in the house and rotate as necessary. Works a treat!

Listen to Rimskidog, he knows his business. Get some really good books on the subject. Its a heavily technical one, backed up with a need to innately understand and feel the music to achieve the best technical and emotional result possible. Then there is the art of dragging the ultimate performance out of the talent on any given day/hour/minute/take. It is a real art - just like playing bass - and one that takes a lifetime to learn....

Les floated my boat from Suck On This onwards until the Brown album where I think his ideas started to dry up a bit. Herb's drumming was hugely integral to the sound of Primus at their best. I've got the live Frizzle Fry DVD, and that is just superb. As for Les vs Flea, they're really different IMO. Couldnt say who was best but I think they are both very much playing music, it just so happens they do it in a pretty inventive way. Oh and Flea is definitely tighter than Les, but I couldnt say how much that really matters, since Les' feel fits his band poifectly IMO. Oh and I just taught Plux John The Fisherman (its a family favourite) he's trying to figure out how to sing and play now.....

Errr "I told you so....."

[quote name='alexclaber' post='557955' date='Aug 1 2009, 05:59 PM']Be more than happy to! I'll try and make it more general, and in particular look at acoustics and psycho-acoustics which are so important to getting a band to sound good. Alex[/quote] Promise no words with more than 2 syllables though please Alex

[quote name='Beedster' post='558137' date='Aug 1 2009, 11:02 PM']Fenders and Markbass BTW [/quote] What, all of them? I heard you tended to get around after Fenders, but I had no idea it was that bad mate! Crikey!!!

[quote name='Tait' post='557297' date='Jul 31 2009, 05:19 PM']thanks, that makes sense. so what are the advantages of an audio interface? i guess it just makes the quality better if its a digital signal? you said being able to plug a keyboard controller into it is useful if my brother plays keys, why? is there any difference between that and just using a line out from my electric piano? or am i completely misuderstanding you? reacomp, i'm guessing thats an effect on reaper? oh yeah, i've just had a look, i see it. i'll have to have a look at how to use a compressor because i have no idea what any of those buttons do. then i'll check out sound on sound's guide to it like you said. what do you mean by frequency mixing? and as for EQ, any tips/advice please? especially for EQing my guitar, particularly an overdriven sound, which i don't think i use in this song, but i have in others. i can get a nice enough live sound on guitar, but on a recording it always sounds too fuzzy and too overdriven, and when i turn the gain down and volume up, it doesn't sound dirty and growly enough if you get what i mean? its something i meant to ask about in the original post but forgot, how to get a nice overdriven tone on a guitar when recording. both my guitars have seymour duncan s8 invader pickups (dual humbuckers) and i use a marshall guv'nor pedal for the overdrive. one of my guitars also has coil tap. reverbate? do you mean ReaVerbate, the one on reaper, or something else? i'll have a mess around with reaverbate for now, get used to how it works and stuff. i'll look up reatune, but atm i've got an electric tuner and i also use the one built into guitar pro. is there much point in me learning to use reatune or not? whats a vst? and any suggestions for good ones that i ought to download? although the song i posted a link to is completely different, with my band i play a mix of punk and sort of classic rock, lots of solos and tiwddly bits, but the basic songs tend to be quite punk. i've not got any of them recorded, but thats what i'll be recording with my band. do you want a wav/mp3 of each track? i'm not sure how to send them through basschat, but if you PM me your email adress i'll send them to you. hearing a mix by someone who knows a bit about recording would be great, i'd really appreciate it. is it the track what it is that was recorded on reaper? i can already hear that sounds a hell of a lot more "professional" than my recording. also thats some great bass playing.[/quote] Reacomp, ReaVerbate, ReaEq are all Reaper specific fx. Read in the manual how to set up an aux channel for reverb/chorus etc and send to it or you'll use up all your PC's power very quickly. ReaComp, ReaEq are so called inline fx and are generally used 1 per channel or 1 per group of channels. Reaper lets you do either. Frequency mixing is the art of eq'ing space in each instrmet for all the other instruments so everything stays clean and not a muddy mess, must do this to mix anything with more than a couple of sources really. EQ'ing is a deep subject mate, would take a while but I will post another time with a bunch of good tips... Compressors (ie ReaComp) control peaks and dips in loudness (limiters are similar but far more overt) VST's are other peoples fx that you can load into your system and use in Reaper. There are squillions of them! Many are free and good. VSTi's are similar to VST's but actual virtual instruments (ie hammonds, or drumkits or bass guitars - really!) Yes I'd need an mp3 of each track (lets not bother with wavs for this, I know mp3s dont sound as good, but this should be as much about showing you how to layout and use different fx as getting you a final mix...). When I'm done I'll email you back the Reaper project file (tiny), if youput that in the same directory as the tracks and start up Reaper and load that project you'll be away. I'll pm you my email addy....

01. Silverfoxnik: Roscoe Beck V, Wal Pro2e, BC Rich Eagle, Fender Jazz V Deluxe, plus my recently acquired Eden Metro Rig 02. Merton: Status Retroactive, Mikey's Singlecut Fanned-Fret Prototype, LH500 and Barefaced Vintage 03. OBBM: StRay5, MB F1, UL212, something else. 04. Hamster: BFM Omni15 tallboy, Barefaced Compact, Fender P with Thumper & Villex PTB 05. Alex Claber: '87 Warwick Streamer, RIM Custom 5 with 36" scale and Q-Tuners, Avalon U5/QSC PLX3002, GB Shuttle 6.0, Barefaced Compact, Big One, Midget, Midget T, maybe Big Baby. 06. Johnnylager: Spector Euro 4LX, KSD Jazz, LH-1000, Barefaced Big Juan, DHA Custom Shop VT2-Twin-EQ-Bass with Tech Tube valves & whatever other effects I have at the time. 07. Happy Jack: Lightwave Sabre VL, Hofner 500/1 (1964), Hofner 500/5 (1959), PJB Bass Buddy + headphones. 08. MacDaddy. Custom Shuker (hopefully!) and possibly Hamer Blitz or Iceni Zoot. 09. Stingrayfan: G&L Tribute L2000, Yamaha BB614, Hartke LH500, Warwick 4x10 10. Chris B 11. Cetera: Pre-Kramer Spector NS-2, Wal Mk1 Fretless, Fender/AllParts 70's Jazz, Tech21 Landmark600, GenzBenzNEOX212T 12.Andyonbass. ACG Recurve, ACG J-Type, Pair of BFM Omni 10.5's 13.Waynepunkdude Fender Jazz + DHA-DI-EQ 14.Jakesbass Alembic MK5 Deluxe, German Blockless Wonder 1880 Double Bass (and the '78 Jazz if anyone wanted a go) 15.51m0n (& Plux if he's not gigging): Bergantino AE410, MarkBass sa450, Focusrite Compounder, Roscoe Century Std V, (If Plux isnt gigging) Berg HT210, HT115, Hartke LH500 16. 17. 18. 19. 20. 21. 22. 23. 24. 25. 26. 27. 28. 29. 30.

Good luck mate, been there myself, its a hard choice, and in some ways even harder to come back, but sometimes its unavoidable.

+1 bought a pair of speaker cables which turned up so fast I think he must be employing sweatshop labour techniques on himself Quality is superb as ever, thanks Dave!

Yeah I studied for 2 years at college, and new far more on recording when I went than they could teach. in fact they asked if I wanted to teach the course at one point A few years before college I had paid a couple of local studios for private tuition (they were running what turned out to be superb courses) and then just got all the real experience I could sitting in, running whatever they needed. This is the days of 16 track reel to reel studios with a couple of rack uints being pretty nifty! Then as computers have come along and made this stuff accessible I've realised how much a really good grounding in the theory behind eq, fx, mixing, compression etc is a huge bonus and a true differentiator between how I work and some other people I have worked with. The results usully work out better quicker for me as a result.

Not forgetting that active electronics will push signal down a significantly longer cable (all things being equal) than passive, with less degredation of the signal....

First of all - considering your level of knowledge and kit thats a great effort - and a really nice song, well done!! Reaper is a fantastically powerful tool, you wont need more software for a very long time! Listening to this you need the following kit:- Decent audio interface Decent mic for vox/general Decent preamp (good idea if it takes line level as well as mic) Decent need not cost the earth!!!! Read a lot of reviews and check back with us first before buying. OK in terms of the mix, you need to look at the Reacomp effect. Its a fantastic compressor that used properly will really control those dips in the vocal volume etc Sound on SOund have an online review/guide to it, but read up on how to use compressors first, they are tricky to get your head round, but vital pieces of kit. You also could learn a bit more about using EQand frequency mixing to be honest. Another must have is reverbate, which is a good reverb. Finally did you know that Reaper has a superb inbuilt auto tuner? Look up Reatune in the manual. I'm not saying you need it or not, but its nice to know its there! Also look downloading other good free vsts - there are huge numbers out there! (my favourite soft filters are free for instance) If you send me the wavs/mp3s I'll do a Reaper mix for you and send it back. That way you can see what I've done with the effects to make it sound like it does. Hopefully I'll be able to give you some pointers. PM me if you want.... Track 1 on my myspace was recorded in Reaper with a drum kit VSTi called mydrumset which (used to be) free (might not be now).

It was all so simple when I was gigging a lot in the early 90's, course we was immortal too so none of thie lectricity gubbins could harm us, however dodgy the toilet we played in. I have no idea how I have survived this long - really My boy just got told he'll have to have his lovely LH500/Berg rig PAT tested if he wants to use it at the local Rock School course/gig. Shame, I think Herbie F would have liked it !

Oooooh I'll bite... Flea - 12" version of Higher Ground - havent heard that version for nearly 20 yrs mind, but it was soooo good! (v grateful if anyone has a copy!!) Michael Manhring - Adhan - totally blows my mind (along with Selene and Watson and Crick) Les Claypool - Tommy The Cat - off Sailing The Seas, daft as a mudflap, love it! there are plenty more but they are superb...