51m0n

Great Mic on snare or guitar cabs in place of a 57! No idea where you can get it repaired though Sorry.

Fletcher Munson curves.... http://en.m.wikipedia.org/wiki/Fletcher%E2%80%93Munson_curves

Well for one thing the clever digital bits to tailor the output of the amp to the cabinet will have been tuned by Jim Bergantino to match the output perfectly to his cabinets to absolutely maximise the effect of the amp and cab combined in each case. So it will be the first bass amp I can think of that uses DSP to tune itself to one of a range of cabs as chosen by the end user. And given the success of the IP range in achieving a remarkable sound from its cabs given their size and power handling, it promises to absolutely maximise the impact of all the modelled for cabs. I cannot begin to imagine how good an ae410 will sound with this in front of it......

Bond two or three together?

[quote name='xgsjx' timestamp='1423246703' post='2682824'] In G major? I transposed it to C to play it on 4 string bass. Another you might enjoy playing is Fur Elise. Again in the original key. [/quote] Yep absolute killer on a four string, can only be played with a 24 fret bass and I had to do a sort of mock db thumb position thing to do the run at the end and the final chordy bit right. Fantastic to play though, although i cant remember the middle third of it any more...

And never forget there are no hard and fast rules If it sounds good and didn't release the magic smoke then it is good....

As long as you are recording at 24 bit don't worry at all about recording at low levels. When tracking drums I leave a good 12dB above the highest peaks. At mix down you can use a gain plugin or normalise the tracks to make driving other gain sensitive plugins

Its a kicker isnt it. That great tone you get out of your rig live, and you DI your bass and get nothing like it, or you mic it and get nothing like it, either no low end, no grind, too nasal, no balls. No 'schawingggggg'.... EQ and compression in the mix can help, extreme EQ can make a DI'ed bass sound pretty good, but at the end of the day a speaker flapping around is a very very poor transducer, it adds all sorts of odd distortion to the sound and filters out a load of frequencies to boot. Ports effectively boost frequencies, and you cant mic the cab at a distance because your room is rubbish acoustically. Cabinet emulators try to achieve something not dismilar, and some of them are pretty convincing. CLose micing is capturing very limited parts of the sound put out by the cab as a whole. I'm currently recording for my band, and have been laying down bass tracks all week. I spent an evening going through combinations of cabs, pickup settings, mics and DI, and all sorts of options. Eventually came up with a set of parameters that gave me what I feel is a really good starting point, its a really thick meaty tone, not too growly and just what I was after. Thing is it doesnt matter how I did it, it wont be the tone in your head, so there's no point me trotting out the recipe in full, it did involve two mics, and no DI, which is a first for me IIRC on a bass rig. You have to spend a lot of time experimenting, hours even, always listen with great headphones as you move mics around to find a sweet spot. If you are mixing more than one source then check the phase using your ears, meters and anything else to hand, in phase multiple sources get louder when summed, out of phase they dont (they may not get quieter but they do not get louder). Make recordings (yes multiple) comparing all the combinations to pick what is best - start with mics in standardosh places and just take instant decisions, what are the best two mics, choose, now. WHat cabs do they work on best, choose, now, where does each mic sound best on its own, choose, do they mix well there, or not, if so then you're done. I always record a DI as well, just in case I need something that the speaker/mic combo isnt giving me when it comes to mix time, but generally if I've put everything together right up to this point all the bass will need in the mix is maybe a little eq. I use compression on the way in when I record bass, but I'vew doen so for decades and am very comfortable with knowing the result I'm after. If you don't know your compressors inside out, leave compression for mix down, its far more forgiving that way... As for reamping, try not to, really, making a mix is hard enough without having to reenvisage every decision made during tracking up to that point, do your best to choose a path and stick right on it, mixing should ideally be done when you balance the faders, it never is, but thats the goal, track with that in mind!

Markbass Compressore You want levelling rather than pumping, it should be possible to achieve that with the MB no problem Remember slow the release more than normal, lowish ratio, attack around 30ms, threshold to suit <Note to self, stay the f*** out of compressor threads!>

About every two gigs - which are rarely less than a month apart Or directly before recording (you can eq out zing - but you cant eq out harmonic content, and I do like a bit of harmonic content)

Bach's Cello Suite No.1 In the original key, in the original octave

For what its worth the most inciteful pro player I've spent any time with at all was Herbie Flowers, I first met him in a studio in Brighton where I was tape oping in the very very early nineties. He was 'producing' a band of young up and coming chaps at the time. The most down to earth guy I've ever met in the music business ever. He didnt worry about the tech stuff, but he got them in the right mood (oh yeah maaaan), helped them with structures kept their quality of output up, and their moral sky high too. I had no idea who he was. He treated me with kindness and humanity from the moment he met me. I've subsequently met him many times, chatted to him a lot, heard what he had to say to my eldest when helping him, seen his generosity first hand as well. But the single most amazing thing was watching him play a load of those old tracks he cut in the 70's with his little band, and realising how incredibly musical he could make one note, where I would probably have played 6. When I asked him about it his simple answer was "They didnt pay me by the note though, did they Si". Genius!

[quote name='xilddx' timestamp='1423009884' post='2679659'] Totally agree. That was exactly my point on another thread. [color=#282828][font=helvetica, arial, sans-serif]It would be much more [b]useful[/b] on here to have professional techs, sound engineers, luthiers, recording engineers, producers, tour managers etc. than pro players.[/font][/color] [/quote] Yes it would wouldn't it.... Apologies to everyone for being a part of pissing someone off who turned up out of no where and stated a fact that isn't actually true with an over enthusiastic rebuttel. I didn't knoiw he was a pro bassist who has done a million miles on the strength of his playing, and I dont really care, sorry. Then again why should that make any difference at all? What he said was his opinion (and stated incredibly rudely in the first place - although he subsequently deleted that post), he's welcome to it, my opinion was that what he said was in fact somewhat too black and white and not one he could back up with real data. The fact that he is a pro is not relevant to 99% of the people on this forum and the places they are playing so some of his advice wont marry up with their experiences, I gave the other view. Should we not have our own opinion and make it if it is in someway different from a player who can label themselves a pro for some reason? Seriously? We aren't allowed to respond to a pro if we don't agree with them. Can I suggest that everyone who is a pro must now declare themselves a pro in their avatar so I know when to keep my enormous gob shut then for fear of causing offense..... Or I could just follow him out the door if you'd all prefer Its rather like all the antagonism towards Bill Fitzmaurice and Alex Clabber though. And you wonder why they hardly ever post.

I'm getting sweaty in a very naughty place looking at this.....

Yeah, thats a LOT of investment into an amp, my sa450 was under £500 when I boight it (got a proce match with an online price) To be twice the amp the sa450 is wopuld take some doing to be honest. Still suffering though

My current rig is by far the best ive had Roscoe Century Standard 5 string Markbass sa450 Bergantino ae410 But I've got knee twitchingly heavy GAS for the new Bergantino map with built in dsp.... Oh and I play funky instrumental stuff with a fairly big band so the bass has to be reasonably prominent in the mix.

I've never heard the ip series at full chat but I had ago on one at a very normal solo practice level and it was very lovely indeed...

Get a hopup from screwfix Good for 150 kg Folds down Big enough and strong enough for a 410...

A cheap and cheerful condenser is cool, but how do you use it? Microphone placement is really important because it changes the sound drastically. Most cheap mics have a cardioid pattern. That is they are more sensitive in front than to the side and the back, at least above 1KHz. This is great as long as you point the Mic at your target, and you can use this to get a mellower tone by deliberately pointing off target. However the side effect of a polar pattern that is not omni is a tendency to get bass heavy as you get very close to the source. This is called proximity effect. Think late night radio DJs - although they will be using a large diaphragm dynamic Mic the effect is the same. This can be really good on some sources not so good on others. Crucially use your ears with closed back headphones when setting up mics. For vocals and other sources that move a lot of air, you will need a pop shield, a wire coat hanger bent into a one inch deep six inch across spiral with a 10 to 20 denier stocking over it will work perfectly in a pinch. Micing bigger instruments requires a bit more care, a rule of them is that you want to Mic no closer than the longest dimension of the sound board of the instrument if you care trying to capture the sound of the entire thing in one Mic. This is a long way with dbs or pianos. It's made even worse by the effect of room reflections, with a dynamic Mic you want to be no more than half the critical distance from the instrument in the room, or the result will be awash with reverbiness and sound very distant. This critical distance is the distance from the instrument where the volumes of reflections off the wall nearest the Mic is as loud as the sound directly from the source. In many rooms that makes close micing your only option, so with just one Mic 've sure to spend time listening as you change its position around the source, leave it where it sounds best in the mix as far as you've got at that point. This shouldn't take more than five minutes but it can save hours at mix down later.

Room to move is unheard of for us as a seven or eight piece, if we aren't in danger of falling over or stabbing a band member with a stick a horn or a head stock we are doing really well. Get your own little boogie thing going down, mine is pants verging on ridiculous but it's better than stationary. Don't stare at the fretboard, look punters in the eye and smile with them, they absolutely love this! Look at your bandmates, especially the lead instrument at a given moment, punters like that as a visual clue as to where that cool sound is coming from Most of all have a great time on stage in front of them, they will join in....

It will have an ae410 setting? And an ht210 + ht115 setting? Please say no.......

Thats very interesting. If its anything like the concept behind the IP line it will be all about maximising the speaker by very sensible management of the output to it. This may well end up being the bass 2.0 the T.C were claiming to deliver with their heads a couple of years ago. I havent had any amp GAS for several years, until now..... Damn!

The only thing wrong with the MXR is that it's lowest ratio is a bit too high to be an always on compressor IMO Fine for an effect compressor though

[quote name='JapanAxe' timestamp='1421361105' post='2660473'] Yes. I have one. It's called a Mac. I'll get me coat. [/quote] You jest....

Right, without metering you are really in trouble. The reason is the human ear has the ultimate expander/compressor/limiter technology built into it. The range of volumes you can actually hear and process is unbelievable, at the threshold of hearing the ear can pick up variations in pressure of 1 billionth of an atmosphere (less than an atom wwidth of movement, at the threshold of pain you are 130dB louder, or 10,000,000,000,000 times louder! It does this by being able to amplify quiet sounds and protect itself from louder sounds, so your sense of hearing naturally copes with too loud a signal (ie it has a limiter on the loud end and an amp on the quiet end). This is really really useful in nature, but the downside is you cant measure volume with your ear well at all. Certainly not less than 3dB without a comparative level to work with. So whilst its possible to set up a compressor on an instrument in a mix without metering (the chances are you'll tend to be heavy slightly handed about it even then) setting a compressor on an instrument without a mix to hear it in is really hard. How many people hear have played with a compressor and said I cant hear it unless I turn it right up, and then it ruins my dynamics because I cant play louder, when I dig in its the same volume? Thats because you cant hear the change in the envelope of the sound, your ears are not designed to be good at that, they're designed to cope with loud bangs and let you find food and avoid being eaten. So what can you do? Well, practice with a compressor with good metering first, and often. That really helps. Also if your amp has a clip light that can give you some clues (although many clip lights dont respond to very fast transients so well). Try the following:- Turn off the compressor Set the comp up with the fastest attack and slowest release Set the ratio to max and the threshold as high as possible (so even turned on you arent going to compress yet) Set the input on your amp so the clip light just, just comes on when you play normally Turn on the compressor Drop the threshold until you hear/feel the compressor grab the notes The clip light has probably stopped coming on at this point - its like a really really naff bit of metering! Open up the attack to about 25 to 30ms Speed the release up to about 70ms Drop the ratio down to 2:1 (or until when you play hard you still hear some difference and it doesnt feel like you are fighting the compressor) Change the makeup gain so that the clip light just just comes on when playing normally Play hard and turn the input gain down until the clip light stays off Turn the comp on and off, can you hear any difference? Maybe, maybe not (depends on the compressor 'action' and if it imparts some tonal change), but you are almost certainly pulling up to 3dB of compression on the loudest notes, without hearing or feeling it, which means a better more even signal to the amp, cab and punters. You should still be able to back off to play quieter without any problem, but it will just alter your signal a little in a helpful way in a gig. If you want a more obviously compressed sound shorten the attack time a little, find the sweet spot where you can hear it grab the end of the transient a little fo that classic pop sound for instance. Or play with the release time to try and get it pumping a touch (this is rather tempo dep[endant though so you should be careful of that). Hope this helps.....