51m0n

Saturday at The Half Moon in Heathfield. They put on a really great evening, theming the menu (Soul food night - really smelled amazing, didnt have time to eat any though) to match the band (Mister Super Juice - we play cinematic funk). I got to use the new Barefaced PA (huge thanks to ALex and Bobby for suggesting it, and helping out), a pair of FR800s and a pair of LF800s, so thats 3.2K out front - which was massive overkill due to the weather being a bit grimmer than we'd hoped for and the sides of the marquee staying down. Amazing FOH though, these cabs are relatively small considering they are very full range, and just absurdly light - literally throwable (not that we did) - which you would expect for Barefaced, but the surprise is each cab has its own 800w amp built in and DSP tailored to the cab/crossover/drivers combination to maximise the potential and minimise the risk of damage - think Bergantino IP series. I've run a lot of PAs, some pretty big and many smaller, and I've heard literally thousands, and this is honestly the best PA I've ever heard, but I'm not super keen on massive bowel rearranging low end kick beats (I'm sure it could do it, if you put that sound into it, it just doesnt over power the low end if you dont need to). Playing a vast collection of funk and soundtrack music through it during the break and before and after the band sets the overriding sense was, this is what really nice hifi/monitors sound like, but 100x louder. Awe inspiring detail and clarity, amazing stereo image, lovely tone. They arent cheap, but as an easy solution for any band to sounding utterly superb, they are currently unbeatable. I could fit the entire FOH and my bass rig into my clapped out old 3 series Beemer for crying out loud!!! Totally GAS inducing gear, the band kitty has a new goal.... As for the gig, well first off the people of Heathfield were utterly lovely, the pub is beautiful, food was brilliant, the backdrop (a view all the way to the sea across fields) was breathtaking, and they really know how to have a party!!! We had the first full on dance off we've ever seen develop in the second set, two groups taking it in turns to shake a leg, all in the best spirit possible, whilst we pumped out the funky stuff for them, only topped off by a gentleman appearing through the crowd in full WIlly the Pimp get up to quite literally steal the show! Such a brilliant party atmosphere, wont forget that one in a hurry, and we were asked back at the soonest convenient time. Result!!

It'd be the band I'm in now, but with all of us having a lot more spare time to devote to it, for gigs, recording and writing. I spent ten years thinking about this band as a concept and on the look out for people to make this kind of music with me, now its happening and we are getting some really great gigs, allbeit small venues, but incredibly well received nonethelessm, why would I prefer to be in someone elses band which isnt the one I'm as passionate about??

You can't beat this, the problem is squarely at their door. So just cut your losses before tehy include any more of your hearing....

In short, no. Not with very noticeable artifacts I'm afraid...

I was in his place a couple of weeks agfo, fantastic little (but very definitely growing) operation he has. Great to talk mad bass ideas with him again, its a long time since he lent me the first Big One to test out - which led to a complete crossover redesign

A carefully place zoom h4n and a pair of equally well placed condenser can give near demo quality results IME

Entirely depends on your circumstances. You're gigging to pay the bills, I have a day job that covers that, music is a passion and a release and so I make music I love with good friends and gig when I can. Busy month this one, three good gigs in three weeks but normally we get together every other week and gig about once every month or two. Which is perfect for me....

A lot of the software on that list are my go-to tools too, with very good reason ☺

Get decent earplugs Rehearse till you nearly hate the material Rehearse with a no stopping when anyone makes a mistake rule Minimise gaps between songs to no more than a couple of sentences Warm up before you go on Double check you instruments are in tune before you start Take a spare t-shirt for afterwards Look at your audience and smile a lot Enjoy....

Once you get this you'll realise you can use a variation to drag wayward beast and notes into time. Also using alt and dragging a boundary can time stretch a note to change its length, just a little bit is absolutely unnoticeable.

Make sure you don't have ripple edit on It's one of the standard icons on the top left near lock to grid and all that other good stuff. In fact, turn off locking to the grid as well since these edits are so small. Looking at your example that's definitely your issue!!!! Be careful when grabbing the boundary edge not to get both of them, watch the cursor carefully as you hover over the boundary!

Ok Slice to the left of the click by about 25ms Slice to the right by the same amount Hold Alt and left click the audio with the stick click in it and drag it to the right until you can't see the click. Let go. Youve moved tge click until it can't be heard now. Then click the left boundary of the moved audio and pull it about 5 to 10 ms to the left. Reaper will automatically crossfade the overlap Repeat on the right side. Voila a perfectly hidden click with no audible artifacts.

[quote name='topo morto' timestamp='1435843534' post='2812950'] I think the point is that you can go back and 'edit your edits' if you've done a bunch of them, which must be great in some circumstances. [/quote] Yup. On serious work I take this to another level using mercurial (a source control software solution) to track project files (not the audio, but that never changes!), whcih means if I decide I dont like a direction I went in I can always go back to a known point and try something else instead.

[quote name='Dad3353' timestamp='1435842916' post='2812942'] I'll bow to your superior experience; it's odd that I've never used Reaper in that way before, but I'll look into it. I must be too set in my ways, I suppose. Still, I find Audacity (and Wavosaur...) very useful. I must admit that it matters little to me whether they're 'destructive' or not, as they ask politely if you want to save or not, and if I'm not satisfied, I reply 'No'. I'm simply an armchair buffoon, though, not a Master Mixer. Respect. [/quote] Horses for courses, just dont underestimate the number of ways Reaper can help you get your audio right. I cant imagine begin able to edit drum tracks as well with something less capable, things like removing accidental stick clicks in the middle of tom fill sin a completely invisible way (hint, slice each track in the kit on either side of the click then 'slide' the click later than the right hand slice then move the edit boundaries to be equal power overlaps ) you actually cant do as quickly, easily or with anything like the certainty in Audacity or any other wave editor. So if you can do that you can definitely top and tail audio, get nice fades in place, denoise, declick, add all sorts of eq, compression, limiting, whilst using hugely superior metering software (voxengo Sapn is incredible free software to show you what is going on in your audio to name but one). 32bit to 64bit vst bridge in Reaper is second to none so you can use all the vsts on your 64 bit native Reaper software with no issues at all (in my experience). I do all my mastering in Reaper now too. Its simply brilliant at audio.

[quote name='Dad3353' timestamp='1435078386' post='2805249'] I'm using Audacity 2.0.6; it has a 'preview' button for each of the effects, and a multi-level 'Undo' (not sure how many...). [b]Reaper is not designed to do the same task[/b]. If one wants a DAW, I'd recommend Reaper. If one only wants to edit audio, I'd recommend Audacity. There's no downside to trying both, and choosing on the perceived merits of each. [/quote] Sorry Dad, I have to disagree with you there. Reaper is absolutely designed to edit audio, its a primary function of the software. You do all your editing non-destructively then render than edits to a new file, as opposed to editing the original file destructively. This is a hugely better solution than Audacity's for obvious reasons (if it turns out you didnt like what you did you can always always redo it) You can do all the same editing in Reaper and a whole lot more than you can in Audacity. Yes it can do a bunch of different things as well, but when it comes to editing audio it is miles ahead of Audacity. Its also far quicker to use. And yes I have used many wave editors in the past, none of them is better than Reaper either, although many can be considered better than Audacity (wavelab for instance lets you put fx on a track and hear what you are doing as it plays).

Nice one!

[quote name='blue' timestamp='1435608990' post='2810627'] Stop playing, point her out to the crowd and ask her to come on stage and show her ability and talent. [i]"Come on up, you can sing, play guitar, bass, or drums. Everyone, clap her on and up on stage!"[/i] I guarantee, the heckling will stop. Blue [/quote] Yep this is OK, unless they are drunk, in which case you can end up with some drunken bellend wanting "a go" on your bass, which will end in disaster when they fall over and trash it......

Reaper is a far better editor than Audacity. Audacity doesn tlet you hear changes you're making until after a destructive edit. Which rules it out for serious work immediately.

Never yet...

Simply leave no gaps between your songs

Mahoosive cab (Big 'Triplet' II perhaps) with a gigantically powerful power amp (at least say 2Kw) and a massively capable tone shaping preamp all in one obscenely fantastic box.... That really ought to be on the cards Alex

Walk away, these jokers have no idea at all. A very close friend runs PA for smaller stages at the Isle of White festival, I've taken this PA out for him on occasion, Its definitely the real deal for small festival stages. Sound quality and volume are very very impressive. Set up time is about 2 to 3 hours, including a soundcheck. Requires not less than 2 people to set up, ideally 4. At least 2 really need to know what they are doing or it takes longer. Fills a huge mercedes van. The desk alone cost 15k not including stage boxes These idiots dont have a clue.

Your sound is much more your note choice, time feel and phrasing than it is timbre or eq. Getting the timbre right for the mix is not a compromise its a requirement in order to make the music sound its best Failure to do so is doing the band a disservice Don't do that and expect to stay in the band for long....

If you want deceptively simple funk then you need to get your head into the Meters:- https://www.youtube.com/watch?v=phUTCsVAKXA

[quote name='JTUK' timestamp='1429359929' post='2750774'] I use Newtone and they aren't the most zingy from new, but they keep that sound longest, IME. I can keep them for 6 weeks plus... and I'll play the bass every day. I keep the strings clean, but not overly zealous about it, but common sense things like clean hands etc. Also, the string clean up and I may get upto 5 uses out of them so I tend to buy a pack of 3 once a year. I'll change the strings when they feel off before they sound off.. I came over from DR as I don't believe they use the best metal anymore and have had a few too many duff experiences...which they certainly didn't suffer from a few years ago. IME, of course. [/quote] Interested! I feel the same way about ERs, but haven't found a substitute for the feel yet, I'll be trying these!