51m0n

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!

Nice one! Looking forward to hearing this mate, I imagine the only hope you have of capturing the live chaos would be to track as close to live as possible, you lot don't strike me as the click track type 14 tracks in 3 days is still none too shabby though, great work!

[quote name='Number6' timestamp='1430653750' post='2763387'] 51m0n, I wish i understood a word you have posted.....but alas i don't But if you're constructing something that does this then Wahey! [/quote] Haha! Trying not to give too much away, but in simple(ish) terms I want a system that can project from many different projectors live with no human controller that changes videos on one or many of the projectors on a kick drum beat. I'm using Raspberry Pi mini computers to handle the projection side, since they have an HDMI out which will plug into projectors or TVs (a lot of pubs have TVs behind the staage, we can use that as well as the projectors we'll take with us) Then I have another R Pi that listens to a footswitch I'm designing and the kick drum and tells the other Raspberry Pis when to change video over a small computer network. SHould be ablt to get a video change message to any of them in a few m/s, and then its how fast the projector pui can load and display the video. Its not a trivial bit of DIY, but its really the code for the controller that is hardest. The final solution will look a bit like ORac from Blakes 7 but be able to run 5 projectors in its first incarnation.... And yes they can project images or video, so they effectively can be spot lights rather than video displays some of the time.

Mixed really Load in the stuff, bar stuff come over say hi and then "You'll need to turn the bass down". I was boggle eyed, we hadn't even started to set anything up! Talk about the quick reaction force! Ten minutes later she's back with the boss saying "we told you the neighbours have issues, you'll need to turn the bass down" I'm like "We'll do our best but it is a funk band, bass is integral, but we'll try and accommodate you" Eventually set everything up and do our sound check aiming to be as quiet as possible, thinking that should be ok it's half our normal rehearsal volume when back she comes saying "The bass has to come down its far too loud in the low end, youre rattling those windows" pointing to the windows directly behind tge bass rig. Id rattle them with a decent fart i thought, but roll off about 6dB of 40Hz saying That should sort it. This seems to make thdm happy, the bass sounds really thin now of course but never mind, its that or an hour drive home. Punters loved us though, one of them quite literally gushing about how amazing we were after the first set (in fairness we were pkaying really well). Unexpectedly massive positive reaction. The management never reappeared so i guess we dix ok for volumes but the speedwhen we arrived was quite alarming Not sure if we'll go back again to be honest....

Like I said controlling this is the trick If you only need one projection /tv it all gets much easier!

A hint would be raspberry pis networking off a switch They output 1080p video via HDMI you see, which is ubiquitous

I'm building a system for this at the moment, it's sort of the ultimate requirement of my band Extensible to as many projectors and or tv's or whatever you can afford It's taking a long time to get the control software right at the moment quite tricky stuff

We're playing Eastbourne this Friday night, after our fantastic gig in Brighton last Saturday, hope to see some of Basschat's finest there!

Yeah, we used to get that a bit, but its just not a problem now, or at least no one has suggested a vocalist for a while....

All of the above and more, which is why we don't tolerate singers in my band, absolutely not a problem, we used to get some people asking about it, now I think we've tightened up any places we didnt have something to catch the ear in place of a singer, and at the last few gigs its just not been mentioned. 6 or 7 people can keep something interesting happening all the way through even a 12 minute track between them - or they cant write decent stuff, simples. I used to think maybe its just playing in Brighton, but we've had no problems all over the south east, and in london, people seem to catch on that we're doing something really different from the normal pop/rock thing within about 30 seconds of us starting, but it never seems to be an issue (fingers crossed!)

Awesome gig on Saturday evening back in our 'local' venue. We think of it as the local simply because we have an open invitation to play whenver we want, they love the kind of thing we do, and the crowd are usually cool about us trying out new ideas on them to a degree. Set up in the corner (very cramped) due to a huge table full of birthday celebrants being in the way of the usual band spot, which could have been a major issue if our percussionist was there (she wasn't - which was lucky). We thought the birthday bunch would make a run for it, but they stayed to the very last moment, and one of their group was so into it she managed to get the entire pub dancing in the second set, which went down a storm! A chap told me in the interval that we reminded him of Quincy Jones, Lalo Schiffrin, The Meters and New Orleans second line in general and a healthy dose of Isaac Hayes - not bad for a set of originals - happy with that! At the end of the night the management invited us to play Brigthon Pride (by far their busiest night of the year, its absolutely rammed to the rafters with very happy punters out to have a rather good time, New Years Eve pales into insignificance), considering they've never had a band on for pride before I reckon this is a bit of a win!

[quote name='alexclaber' timestamp='1429621420' post='2753284'] That would be enormous! I think for going that low a better approach is to make something like a Bag End ELF (this is not something from Middle Earth, it really exists!) using a sealed cab and an active module with DSP to flatten the response down low. Hence my crazy 6x12" (or maybe 4x12") idea... [/quote] You asked for a behemoth, I thank you very much

An enormous transmission line speaker going right down to 20Hz for real, driven with your mega high excursion 12" cone and your nicest tweeter, maybe a second 12" driver for mid range if there is a big old whole in the frequency range. I love decent transmission line speakers, never heard one that could do bass guitar very well though, would be very interesting

Mister Super Juice are back at The World's End in Brighton on Saturday playing our brand of cinematic funk from 9:30pm onwards. Be lovely to see some Basschatters there!

Reaper isnt great at video, and it doesnt have any notation built in. Other than that its great, and has the most comprehensive routing capabilities of any DAW I've ever used. Whenever I use another DAW I'm left wondering why I need a specific typ eof track/channel for this thing or that thing, why I cant just hook anything up how I like, yada yada. Wastes ages for me, I soon head back to the place I like to call home Some may be a little prettier but none I've used are more functional (some may be as functional if I knew them better).

Red5 Audio kick mic for sure if you want to go with one at all A pair of decent condensors for OH is where its at. If you can afford them I highly recommend a pair of Line Audio CM3s (get them from NoHype Audio, top chaps!), they are sublime SDCs. If thats beyond budget then the cheap solutions are much of a muchness, but these from Thomann are not bad at all:- http://www.thomann.de/gb/the_tbone_sc140_stereoset.htm Definitely investigate the recorderman technique though, best possible drum sound from the least possible mics (two, although you can add a kick drum mic too if you want):- https://www.youtube.com/watch?v=8X_kMItRI2s http://jonstinson.com/the-recorder-man-drum-miking-technique/ Enjoy!

The problem with this 'heft' is that no one really knows what the hell anyones talking about. I've never rally experienced anything in a valve amp that I thought was better than a really great solid state amp. Equally warmth means something different to pretty much everyone too. Define heft properly, in a measurable way, and it can be reproduced (and almost certainly recreated with different tools, i.e compression or modelling) until then its just astrology for bassists Has anyone tried a Kemper modelling with bass? Its purported to be the absolute pinnacle of modelling amps, used by an awful lot of top studios rather than mic up a bunch of hoary old guitar amps that require mega bucks in maintenance and who knows what. Supposedly 'feels' right according to pretty much everyone who has used one. I'd be really interested to know if the tube officianados here find that it suffices for them....

That becomes parallel compression which is a really nice feature in and of itself But I find 2:1 often too heavy at the thresholds I like to set it ☺

Saw him at Love Supreme last year, killer player, killer band, absolutely euphoric funky disco greatness. Love his interpretations of the songs.

[quote name='funkgod' timestamp='1427649211' post='2732685'] some intresting tricks from.... [url="http://www.soundonsound.com/sos/1997_articles/may97/reel2reelroundup.html"]http://www.soundonso...eelroundup.html[/url] .. But to add to this, there is also[b] Reverse Delay[/b], a great trick to bring in the begining of things. same set up as reverse reverb, if you have a vocal on the begining of a track, turn the tape round, take the op from the vocal chan through a digi delay onto an empty track press record to get the first few words to the begining of the track, turn the tape back round and you get that great delay coming in louder and louder until the first word is sung, you can then cut it and press record of the new track just as the vocal comes in, [b] "[font=arial,helvetica][color=#483D8B]ANALOGUE TRICKS[/color][/font][/b] [font=arial,helvetica]There are some things you can do with an analogue recorder that you can't with a digital multitrack tape recorder. Here are a few:[/font] [font=arial,helvetica][b]• BACKWARDS RECORDING[/b][/font] [font=arial,helvetica][b]• REVERSE REVERB[/b][/font] [font=arial,helvetica][b]• WOBBULATION[/b][/font] [font=arial,helvetica][b]• DOUBLE SPEED/HALF SPEED[/b][/font] [/quote] I do all of these in a DAW regularly, its just not true that they cant be done. And much much more easily, especally things like reversing the reverb on a single snare and moving it to the front of the snare properly, - which is slightly different from just running a snare backwards into a reverb, because the sound generating the reverb is the wrong way around when you do that. But that can also be done with a little editing.. And the pitch shifting capabilities of DAWS so massively exceed any such capability on tape its unreal.... The only reason to use analogue tape is you like the sound of the medium, and that only really comes into its own when you push it hard. The rest of the time tape is just not as good as digital in any meaningful way. But I will agree saturated tape compression on some instruments is lovely

The empress is a great looking compressor, I've never heard one (would love to) shame it only has 3 ratios though

Lots of nice compressors out there. The thing is the brightness is as often as not a function of the attack time. A very short attack will catch the input sound quickly enough to cut out a lot of the transient, and that is where a huge amount of perceived brightness, particularly aggressive brightness, is found. If you dont have a seperate attack control you are stuffed, but if you get a decent compressor it will have one, and you want to roll it back to no less than 30ms on the attack. In order for the attack to function on every note the release must also be fast, otherwise the compressor action never resets between the notes, so the transient of subsequent notes its affected by the compressor. A starting point for the release (for me) would be around 60 to 80ms, remember the release only starts once the input level drops below the threshold. Getting the release (or indeed the attack) too fast can cause unwanted artifacts so listen carefully as you shorten the release for distortions and glitchy levels. Hope this helps.