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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.

Foam panels are a waste of money, you are far far better off building your own absorbers out of 2" rockwool (doubled up to 4" deep) r45 is good or r30 if you can get it). Mount them 2" off the wall to maximise their effectiveness. Whatever framing you make needs to have holes all around the side to let sound into the edges too. If it takes out too much high end then some brown packing paper over the top of the rockwool (behind the nice acoustically neutral material covering) will add some zing, failing that perforated hardboard as a covering can do it - plenty of info avaialbe on hole patterns and densities out there. Placement is pretty easy to, front wall behind the speakers, back wall, side walls and ceiling at reflection points (use a mirror and a friend to figure these out), and along side walls. For lows you need to build Superchunks into the corners or you can do it slightly differently by using a couple of different density panals across the corner one in front of the other with an air gap between them. For really low lows you need to pinpoint the frequency and build a Helmholtz absorber. Don't worry about diffusion at this stage at all, get the reflections tamed first! Place yourself at 33% down the length of the room, dead centre, if possible (ie its a mix room). Work everything else off that. Speaker placement can have a massive effect on room node issues. Use Room EQ Wizard to plot your room, do it when the room is empty first of all, you need to find out what you are dealing with before you kick off any build at all. Find the place that your speakers can go that minimises issues, then start adding treatment. Bass traps first, and foremost and absolutely THE most important place to start, anywhere two walls meet (or a ceiling and a wall, or the floor and a wall) is a great candidate for bass trapping. Where three planes meet (ie a corner at the ceiling or floor) you get a bonus. Superchunks pulled out an inch or two from the corner are even more effective, crossing boundaries uses up energy. Once they are built remeasure, adjust your speaker position if necessary (dont forget the veritcal axis here! Ceiling and floors have nodes too, its a 3d world). Then add absorption at all the reflection points from speakers to listening position. Remeasure - it should be getting really good now, check waterfall plots they are the really important info, you are aiming to get even decay across frequencies over time is the goal

[quote name='alexclaber' timestamp='1427471862' post='2730849'] It depends on how you approach your bass amplification. For all the bassists that like the colouration their cab brings to their sound, there's just as many who want a cab that makes their TONE (which is coming from their hands, bass and amp) loud but not changed in any way. If you're of that mindset then you're better off DI'ing. DI'ing doesn't mean the soundman is in control of your tone. Even if he takes a DI before your amp your hands are still in control, as is your bass. If you're DI'ing out of the send on your amp then you have even more control. Trust your hands to be in charge - they're what make us all sound different! [/quote] Whilst your hands have a lot to do with tone three is a huge issue with this approac, you simply cannot hear what's happening FOH from on stage, so how do you go about knowing how to change your tone? Plus it doesn't make a bit of difference really, you ply closed r to the neck if he doesn't like it he'll suck the miss straight out, high pass filter at 600hz and compress you to death then drop your fader back when the kick drum Mic feeds back.... Never ever think you have more control of your sound than the guy on FOH, you are in no position to turn it into a battl, youll just lose 😢 Sorry my phone refuses to spell anything correctly at the moment!

[quote name='AttitudeCastle' timestamp='1427464529' post='2730716'] As in this: http://www.amazon.co.uk/PRODIPE-LUDOVIC-microphones-Handheld-Dynamic/dp/B0038VXUDW ? Looking for cheap Tom mic you see haha! [/quote] Yep You used to be able to get them in a box of three too

The gearslutz threads mentioned above are the place to start mate. Masses and masses and masses of really good advice. However if you need to build partition walls you can't do better than spending an afternoon looking through the BBC whitepapers on the subject, all freely available on line.

A really really cheap option is a prodipe TT1 Chinese condenser that costs stupidly little sounds awesome on Toms will also do well on bass. Sounds like a Senn 421, has a big proximity bump though.