51m0n

I put my whole rig on a hopup (big square one from Srewfix) when I was ysing the Berg, got the cab up higher which helped hear the notes a lot. The advantage of that was it would happily hold 150kg so the rig was never in danger of buckling it Now I'm using a Big Twin iii I just leave it on the floor - the dispersion is ace and its a pretty tall cab....

http://www.youtube.com/watch?v=DYW50F42ss8 And this... http://www.youtube.com/watch?v=ljPFZrRD3J8

[quote name='EBS_freak' timestamp='1442586357' post='2868026'] Right you are! ;-p my fat fingers! [/quote] Hey mate, for all I know its a Heil I've not heard of and that means I need to get hold of one for a play! I love their mics, PR-28 is my all time favourite snare mic, PR-40 is my favourite low end mic that can be great on vocals too (awesome kick mic, bass cab mic low end of an upright piano mic etcetc).

[quote name='EBS_freak' timestamp='1441728072' post='2861275'] Heil PR45. Very good gain before feedback. [/quote] Dont you mean Heil PR35? And yes they are exceptional mics....

REDDI di box

[quote name='Merton' timestamp='1442235292' post='2865339'] V nice! Pictures please... You know the score [/quote] I's love to but I'm damned of I can get that to work on this site anymore

Completely agree with you the ae410 is great in a busy mix if you need to poke through. I want to be sitting under everything a bit more though, and it can't quite manage that.

Get them both - simples...

Some of you may know my rig for the last few years, a Markbass sa450 into a Berg ae410. Its been at the SE Bass Bash enough times! And its absolutely class, that 410 is in my opinion the best sounding punchy 410 ever made. However what it doesnt do so well is get right under a band - it just pokes straight through the mix clear as a bell, always. My band now have a keyboardist and guitarist whose rhythm work is intricately funky, playing off each other and around each other in a fantastic way. The sound is compelling, but quite busy, and I've become increasingly aware that I am often detracting somewhat by not being under them enough tonally, and my amp/cab combination can't quite get the tone I want in that regard. So after loving the Barefaced output for years (I helped Alex a bit with the original Big One) and banging on about it ad nauseum to people (here and elsewhere) I've finally put my money where my mouth is and am picking up a Big Twin gen III this afternoon from Alex I tried one at a rehearsal last week to be sure it was what I wanted and it delivered that piece of the puzzle that I was missing, in spades, real depth, an ability to pile on eq without break up at full gig volumes (not that I'd need that much but its good to know the cab handles it) and a wider freuquency response than the Berg, giving a better sense of where the fundamental is. Its a really good match up with my Roscoe (Century Standard 5 strung with Elixirs) which is again tonally pretty tight in the bass, so nothing seems to get woolly down there, just deep and clear. The low B has never sounded so good! The other interesting point is that this cab is more sensitive than the Berg, so at like for like volume/gain settings it pushes more air, or certainly seems to. Not that the Berg is a quiet or insensitive cab, its very loud, just the Big Twin makes those precious watts go even further.... All that is no surprise to me, physics is physics, the Big Twin is a significantly larger cab, being driven with very modern and exceptional drivers that go the extra mile, the ae410 cant hope to deliver as much deep low end as the Big Twin III, but its still a beautiful sounding cab with an absolutely gorgeous tone. Not sure what will become of the ae410, but I think its days are very numbered

What is the latency like on these cheaper digital solutions??

[quote name='Skybone' timestamp='1439988929' post='2847292'] What I used to do if one of the guitar tracks was sounding a bit "weak" was copy it onto another track, so you're basically "double tracking" it. Pan one channel slightly left, the other slightly right. [/quote] All this is actually doing is turning the track up by about 6dB. Its not the same as double tracking at all because there are no microscopic differences in timing and pitch which you get with true double tracking (and what gives it the big sound). If you can find a delay which can have its delay time modulated slightly (easy in Reaper), set it to 3 or 4ms delay and the modulation at between 0ms and 6ms over half a second to a second, slip the copied track early by 3ms and output the wet only on the copied track, then you get something closer to real double tracking....

No compromise - except they got rid of the metering 😠

Wow!

Firstly always record in 24bit - the headroom is more than your device's analogue headroom. Then routinely track (record) with at least 6dB of headroom above the highest peak you see. When tracking drums I routinely leave 8 to 12dB because drummers can easily get over excited and the volume difference can be crazy - same with bass). That way you can be sure you aren#t pushing the analogue side of the device too hard, or even close to clipping. Most cheaper devices have pretty average (at best) mic pres and input circuitry in general, you do not want to get close to overloading them at all, and you don't want them to adversely effect any transients. Then in your DAW use either a gain plugin in and/or some compression or whatever else you feel you need to tame dynamic range and bring the level up on your terms. I guarantee your mixes will sound better just working this way.....

[quote name='mingsta' timestamp='1439100156' post='2839899'] Thanks for the input so far guys. Btw my budget is 800-1000 for the pair. [/quote] Oops....

[quote name='warwickhunt' timestamp='1439080254' post='2839879'] Is that a pair or each? [/quote] Each....

Barefaced FR800 800w retails at £1000 great full range speaker, will handle kick easily, sounds superb, weights pants all Should be very high on your list....

Yeah jealous now!!!

Pride in Brighton on Saturday, we played the Worlds End on the route back into town from the park where they have the main celebrations. We had a dep drummer, but he's ace, I've played with him in many other projects, so that was fine. Venue was heaving with sweaty punters having a ball to our material, made a huge impression, got inundated with positive comments, and even had a minor pitch invasion at one point. Were compared to Sly and the Family Stone, Parliament and the Meters by different people talking I guess about different parts of the sets I guess. Lots and lots of love coming our way all evening Venue were chuffed to bits, when we started up there were 20 people in there and a stream of people walking past, when we finished the third track of the first set the place was rammed with people who decided to see what all the fuss was about, ten minutes after we finished the second set (2 and a half hours later) the crowd started dispersing, so we were pretty obviously a decent draw for the evening

I use my 4n internak mics as a drum OH, and use a pair of Line Audio CM3s in the room as a stereo pair. In the mix down there is not much of the OH, I get amazing results because the CM3 is a very very wide cardio and the band are broadly arranged in a circle Mic placement is critical as are room levels.

No it doesn't I record with 4 tracks every rehearsal. They are two stereo pairs in that you set level on the internal mics as a pair and the external mics as a pair. But recording at 24 bit means that pretty irrelevant for the external mics, I separate the stereo wav and treat them independently if that is needed. Results are frankly top drawer...

At least a half of my band's set is not quite repeating structures up to 13 minutes long each. Takes me ages to learn some of them so that I don't get lost, and then we usually tweak them so its back to the beginning

Nice one! |Roy Budd is criminally underated, The Marseille COntract theme is awesome! https://www.youtube.com/watch?v=ute99FPI-s8

The theme from Knight Rider

Exactly what looks dated about a properly set up 1x12 + tweeter cab with 800w power amp built in that you can easily lift above your head one handed?? Cost is about a grand a cab, most bands would be more than adequately served with just two FR800s imo, the 4 cab solution really was overkill! I didn't get any pictures but I'll ask the band if anyone else did.... I thought they looked fine, I've never had a punter say anything about how a pa looked, but several including the landlord said the sound was incredibly good....