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One use for it you may find is as a filter that doesnt open, but knocks of top (or bottom if you can do that with it) end, by setting the sensitivity so it never opens. Not really getting the most from it like that though!

[quote name='EBS_freak' timestamp='1393592646' post='2382314'] It's all horses for courses really and what you want to get out of the studio. For example, one of the tracks I'm working on is up to 13 hours on mastering alone. [/quote] Something wrong with the mix then?

May well be the wrong pedal fo rthe music you are playing. I have two filters on my board, an MXR bass auto Q and a Maxon AF9, they both sound, and feel very different and I use them for different things, but then, I play the funky stuff almost predominantly, and it can fit nicely in all sorts of bridge sections, middle 8s, or as a help to just lift a lick into the realms of a hook. What you dont normally want to do is turn it in and use it for an entire track. Also use them with either my distortion, or my octaver, (which also distorts the 'clean' channel) for big analog synthiness - or at least as close as I need to get to that kind of thing.

Zoom h4n With a pair of line audoo cm3 mics....

My favourite is the Sisterms of Mercy version, epic goth country, what's not to like???

Ithankyewverymuchlittlepaperboy....

[quote name='rmorris' timestamp='1392840615' post='2373436'] Yeah - let's get back to dynamics in music. If you have a CD player with an Output level bargraph ( or use the graph type displays on PC Media Players etc ) then look at a typical CD release from, say, early 90s - the meter levels probaly actually go up and down significantly (If I'm wrong then try another CD - from Memory I'd suggest Echo and the Bunnymen : Crocodiles from 198?). Fast forward to 2000+ and they'l probably just wiggle about in the top 6dB. Makes stuff tiring to listen to and unexciting. Give us back our Dynamics !!! [/quote] 6dB is pretty good, they can get stuff down to less than 3dB of total dynamic range nowadays

[quote name='rmorris' timestamp='1392840149' post='2373424'] +1 Who is the author / publisher of the book referenced ? I recommend a read of "Mastering Audio" author: Bob Katz ; Publisher : Focal Press : ISBN978-0-240-80837-6 [/quote] +1 Awesome book, the bible for mastering....

Does you thumb come to rest against the string after you strike it initially? Sort of hit the string bounce off then come back to just touch the string. That can cause a harmoinic to ring....

[quote name='JPJ' timestamp='1392934640' post='2374556'] Hmmm I have to disagree with that, based on using the "one-knob" compressor on both my PJB Bass Buddy and Briefcase. In my main gigging rig I'm spoiled as the SM1500 has a full feature (threshold, ratio, attack, release) four knob solution built-in, but before that, I used one side of an Alesis 3630 to good effect in my signal chain. I've also used the little Aphex pedal compressor too, which is great for trapping peaks, but won't do that big squish if that's what your after. [/quote] Then you're one in a million for whom the average settings and curves available on a one knob compressor will work, IME more often than not a one knob compressor is a pretty over simplified nasty halfway house between every possible set up on a full featured compressor, and can't do an awful lot more than generic compression, which may or (more probably) may not fit the way you play, the music you're playing, the instrument you play, and the sound in your head that you are aiming for. They never seem to work anywhere near as well as a decent full featured compressor set up properly.

Awesome gig Nige!

A DAW is a DAW is a DAW when it comes to ease of use. If they are reasonably full featured then they have a learning curve for the completely green user that can seem fairly steep. That is the nature of things, it is not a simple process, it is not a linear sequential process either, therefore the UIs can seem fairly open simply because there appears to be a mind numbing array of options available from the get go before you get anywhere. My advice then, if you are a newby at this stuff, is to choose a DAW that has a reasonable feature set, a great freely available manual and a really really good online community making good videos and answering questions. If the software is free to trial (and fully featured during that trial) as well whilst you get your head around it then so much the better. Reaper fits this bill the best to my knowledge. It is very full featured for audio and midi, some DAWs have more/better/different MIDI features if I'm honest, but you can do an awful lot with Reaper in that regard, none have better routing capabilities, which if you stick at it will become really important to you. None have a better manual (seriously download it, start at the beginning and read it, you wont get anywhere unless you do, this is not a word processor, we are not in Kansas now Dorothy ), none has a better community, get on the Repaer forums, they are full of people asking start up qestions, as well as far deeper stuff, people will answer you, take the time to learn how to do stuff. None has a better trial period, its trustware, you get a full featured version of the software with a reminder to buy it until you do. WHat is not to like? Audacity is IMO crippled since you cant try and tweak fx on the fly, you have to 'audition' your changes in tiny snippets from the start of the song. It also destructively edits your music. Its crap as a DAW, do not go there, its free because its not fit for purpose as a DAW. As a wav editor it is only really good for chopping ends of things for similar reasons. There are a bunch of free similar products out there google is you friend, however once you get to grips with Reaper you will realise that you actually have no reason to use a wav editor at all, ever....

Nice idea, think there is either some autotune on the vox or maybe (going for a benefit of the doubt scenario) they have a long chorus or similar modulation effect in there on the lead, or on the lead reverb.... Still mahoosive cahoonies for attempting this one, love this track

[quote name='discreet' timestamp='1392468016' post='2369076'] Me too, and my valve rig is very clean indeed - just to confuse the issue. [/quote] I thought that was cheating

[quote name='TomRichards' timestamp='1392158581' post='2365567'] A great comparison is vinyl record vs. CbD. Listen to an album on CD, then the same one on vinyl. CD will be cleaner, vinyl will jump at you! Much more "alive". Similar for solid state vice Tubes. [/quote] Nah... You arent usually able to compare like for like CD to vinyl because the mastering restrictions are often very different and in the case of CD likely to have been abused in a nonsensical attempt at average level over punch unfortunately. Where the CD is mastered like the vinyl but allowing for the best bits of digital to be used to their maximum (ie 0 noise, far wider dynamic range than vinyl, wider usable frequency range etc etc) then the CD does actaully sounds better than vinyl, even if you prefer the vinyl experience for who knows how many reasons. Truth is CD is the most apalling abused format in history (and that is really saying something given the amount that vinyl was abused for the same reasons). Sorry for the thread derail , for what its worth, its all horses for courses to me, whatever floats your boat etc etc all good, I prefer clean amps, I dont really like the sound fo a big 810 Ampeg that much, unless its pushed to an extreme in the right context, I certainly prefer playing a more powerful cleaner rig if I have the choice.

Phew no Japanese cross dressing involved....

Depends on the DAW. Can be lowering the level you hear it back (if monitoring from the DAW rather than theinterface directly) or lowering the level down to disk (although that wont remove glitches from a too hot signal on the way in to the interface).

Not really. That DAW fader is way after your audio has been converted to digital, you want to lower the level hitting the converter front end (ie your interface), typically this level can be changed with a rotary knob on the uit or digitally via the unit's control software, either way before you hit the DAW.

Yep, that peak is probably over 0dBfs, which means its clipped, which is a very not good thing

[quote name='JTUK' timestamp='1392302068' post='2367006'] I would also say that Ex military can be fab players and disciplined... so a very good combo, IMO. [/quote] Yup 100% I would also go for #1 I would rather have someone whose work ethic outside the rehearsal room is stronger and gets on with everyone well than someone who feels they are good enough to walk into a room and knock you all dead on your feet from cold, because in a few weeks #1 will be where you need him to be, or you can move him on, whereas #2 will never put the time in, instead relying on sight reading chops to get the job done, and on a gig that could be a problem in some eventualities

Record the reheasals andthe gigs - there is really nor reason not to do this these days and its a piece of cake to send the files out to people too via wetransfer.com for instance. When everyone can hear the issue including the person responsible the expectation for them to improve will become far greater IME.

[quote name='72deluxe' timestamp='1392289312' post='2366765'] I use a BBE BMax-T and use the compressor on that, although the expander ("sonic maximizer" in BBE speak) also works wonders, so the compressor is mainly for peak limiting. [b]What do you expect for a one-knob control on a compressor[/b]?! [/quote] Something that is never quite right for any application.....

[quote name='ironside1966' timestamp='1391376733' post='2356542'] This could get quite complicated a boring very quickly. I also use the IK bass rig and the trick is not to overload the input. Do you use 24 or 16 bit?. I use 24 bit has it allows you more headroom I try to hit the meters around - 12db sometimes less. Good gain staging is important it will improve how you mix, when the signal has gone through SXV and all the processors it should it the master buss roughly the same has it went in, look up Fletcher Munson. We preserve louder to be better so to make good judgements you need a similar volume . The recording level of the DAW should not make any difference but how you drive the AD converters will especially on the cheaper soundcards try not to overdrive them. I try to get the sound right has early has possible and only use EQ to help the sound fit in the mix. To recap use 24 bit and try to hit the meters at -12 to -16 db when the signal has gone through SXV and all the processors it should it the master buss roughly the same has it went in. Just to contradict myself all amps preamps and some plug- ins have a sweet spot the trick is to find it if the signal is too hot try to bring it down before it hits the convertors [/quote] This. Always plug an instrument into an instrument in, not a line in, unless you have an RME UCX or equivalent which figures out the best impedance to match against the connected device with the kind of cold efficiency you would expect from a class A German product Recording at a high level is a very bad and unnecessary thing to do in the digital realm, so just dont do it. Record at 24bit, the digital noise floor is then super low and will not adversely affect your recording. Give yourself a good 12dB of headroom above your loudest peak. You can always use the free GGain vst to add some level later if required, you cant capture a transient peak more accurately if it goes too high on the way in. Do pay attention to your analogue gain staging on anything you are runnung into before the interface, get that at its sweet spot, my Audient mic pres like to be driven a touch harder than my RME mic pres, but sound awesome either way in truth. Get the sound as cool as can before you hit tape, however there is nothing wrong with the eq you have there if its like that to fit into a mix, Repaer's EQ is so powerful that you can get far more surgical than that if you need to, it certainly doesnt look overly complex to me. On the other hand if you are doing that to make it sound great to your ears on its own out of a mix then you can probably get closer to your ideal tone out of the box IMO. When making decisions always always match the levels of changed vs original or your perception will be squewed toward the louder signal, every time!

Another possiblity is sheer tiredness. I dont drink and play, but if I'm properly knackered after a day at work then if I'm practicing at home I struggle to remain focused. Same at a rehearsal, althought the combined energy of the band together usually lifts me through anything other than utter exhaustion. Gigs I'm generally running in a fairly heightened state jsut by playing a gig, but even then if I'm very tired it can be a struggle. You cant beat just lots of practice along to rehearsal tapes though (they need to be right though, obviously) and well written crib sheets to glance at before (though not during) every run through of a track at a rehearsal or at home can really help IME.

Voted, excellent track,some very good entries, one particularly so, best balanced, best eq'ed and best panned IMO.