51m0n

[quote name='Lowender' timestamp='1382584823' post='2253982'] I get that. And I'm all for having fun and playing something that others enjoy. (Though I personally was bored by it after 30 seconds). But I don't see the analogy with climbing a mountain. That's a personal accomplishment, not art. And it isn't something you do very often. I have nothing against the e-bow or climbing a mountain, I'm just thinking in terms of practicality. Like with many effects, they're fun for minute and then the novelty wears off and you realize the band needs a bass player. [/quote] You dont see playing an instrument like that as an accomplishment? How many people can emulate what he's doing there? And as I said before you cant do that on a keyboard anyway, you cant bend/portamento a single note in a chord on a keyboard. Its not about playing bass in a band context at all, this doesnt need a bass player. Its not that sort of performance, it just happens to be played on bass. As it goes he plays bass in the standard 'approved by yourself' role incredibly well (studied under Jaco, but plays with remarkable restraint as a side man), but that isnt the side of his creativity he's explring when he is doing this, clearly. If you dont dig it, thats fine, but dont compare what he's doing to a keyboard, its a different thing, you could get close with a keyboard for sure, you could emulate it exactly with a sequencer, but what kind of a challenge is that?

[quote name='BigRedX' timestamp='1382608463' post='2254226'] Moaning about digital modelling for bass sounds is mostly pointless, since for the last 15 or so years pretty much every recorded bass guitar has had some digital modelling applied to it whether it be a "vintage" EQ or compression plug-in to a full-blown amp sim (or more). [/quote] I dont quite agree with this. Using some simple saturation algorithm and a very simple EQ (btw for those interested the maths for all digital eq's boils down to the same thing, if they sound different then they are doing something else as well as that maths, ie saturation or applying some not flat eq and labelling that as flat in order to suggest that the eq is 'sweeter' than a less coloured one), or maybe some supposedly accurate (but actually woefully inadequate) theoretical model of a compressor seems a very different ball game from accurately modelling the behaviour of a tube amp circuit and all the variables that that can entail, especially the very nature of the analogue saturation and break up. The vast number of VST vintage compressor models that are proven to sound a long way shy of the original only goes to show how far off they can be and yet still get marketed as such and such... The two seem similar, but I think the amp is probably pretty tough to do, simply because more people have access to a real one to compare it too, and also there is more knowledge of how the modelled amp should [i]feel[/i] to play compared to how a Fairchild compressor should sound as you start to bring up the input gain for instance, or what a Pultec eq actually sounds like as you raise the low frequency boost and then raise the low frequency attenuator as well.....

[quote name='bassman7755' timestamp='1382605720' post='2254170'] The presets on modellers are pretty much universally rubbish, generally they insist on over using the processing capability of the unit. IMO it is this that accounts for most of the "it sounds artificial" comments from people. The only sonic difference I can detect between modellers and real amps is the slight processing delay which is about 5 ms on modern units which is not much but I still find it mildly offputting on bass (not so much on guitar). [/quote] Its strange isnt it, 5ms is equivalent to standing 5ft from your amp. Seriously, sound travels 34cm per 1ms. Personally I can stand 5 ft from my amp and its not an issue, but I personally find a delay of 5ms when hooked up to an interface noticeable enough to be a real distraction. I cant figure out why that is, maybe because when I'm hooked up to an interface I am concentrating with headphones on producing the tightest possible performance, and in that case 5ms feels an age, whereas if I'm funking it up with the band then the environment is very different, far more visceral and I dont notice the delay at all.

Also I can't think of any keyboards where you can slide or bend a single note in a chord live in real time, something he does repeatedly in this piece of music

It's called 'art' he is expressing himself on his chosen instrument in the manner that gives him (and his many fans) greatest pleasure. Why climb Everest?

[quote name='neepheid' timestamp='1382538607' post='2253380'] I'm sure it is very good at this and SO much more. The trouble with Reaper (and DAWs in general) is that whenever I've tried one, I feel like I've just walked in here: [/quote] Lol Yeah fair enough

Only one?? Tough choice, it would probably be another Roscoe, almost certainly a Century Signature, with some gorgeous wood on it and things and stuff, and maybe not a 35" scale, or maybe, and it would have to be as light as my current bass (which is light as a feather), and it would need to oooze funkiness striaght into me, and be all fab and whatsit !!!!

[quote name='neepheid' timestamp='1382516850' post='2252996'] Bit of a powerful tool just to pitch shift an MP3, isn't it? [/quote] Yup, but that doesnt mean its not very very good at pitch shifting, and all that extra power is super helpful, slowing down tracks, looping sections, recording your own efforts so you can analyse where you are going wrong better, pitch recognition if you are struggling to work a line out. The list is endless.

No mention of Reaper yet....

[quote name='EBS_freak' timestamp='1382475485' post='2252732'] OH MY GOD! Not in the signal chain! Think of the tone loss man! Yeah, that aside, seems like a valid solution too! [/quote] I know, I get over it by enduring regular self flagellation with a sea bass...

No, he's a twunt...

I have a Korg DT2000 hooked up as follows:- Amp FX Send -> Korg rear input 1 Korg rear output 1 -> Amp FX Return That way I can use the mute switch on the tuner. There is absolutely no tone loss at all.

Nice one! I really really love Lalo Schifrin's work, just awesome, great take on it here though!

Sounds like you are after a digital interface. Lots to chose from whats your price limit?

Plux went to university.... I get to use his room again at last!

Heil PR40 is a hell of a mic for bass, should be possible to capture a fantastic sound with one. There are some cracking mics from DPA and Schoeps that are also fab, but cost the earth, on the other hand I would heartily recommend the tiny Line Audio CM-3 as a close second for a silly cheap price (comparatively)....

You dont need a pickup to record a DB. In fact its the last thing you want to reach for. You need the following:- 1. A good sounding bass played well - cant emphasise this enough, a DB's sound is [i]all[/i] about the player's ability to get it to project, its a physical beastie, and a great player will get a huge tone from an instrument they know, a lesser player will really struggle with the same instrument! 2. A great sounding room - you arent just micing the bass if you are doing it properly, you are micing the way the bass interacts with the room. If you move the mc further from the bass you pick up a sound that is of more of the entire instrument rather than one point source on the instrument. Too close and you are close micing the instrumetn and the mic will only pick up the pat of the sound eminating from the closest part of the instrument, it will sound very artificial indeed If you move the mic too far away you get too much room mixed in. If you go further away you get so much room that you can no longer hear a significant amount o fthe direct sound from the instrumetn. This is known as [i]critical distance[/i], in a smallish room (a living room) the critical distance can be a lot closer than you think. A Cardiod mic should be no further than 1/2 the critical distance from the instrumetn at the absolute most. An omni mic should be no further than one third of the critical distance at most. Remember critical distance applies to all boundaries, so that includes the ceiling and the floor!! 3. No mic phase issues - You are using two mics, it is highly likely that you are losing bass as they are out of phase with each other. A quick test of this is to turn off the playback of each mic in turn and bring the level up to m,atch the level of both of them, if on their own they have more bass than when they are a pair then you have phase issues. The solving of this all relies on you playing whilst someone else moves mics to find the very best place in the room to capture your instrument. its not a difficult thing to do if you know how, I like to literally walk around the instrument with one ear covered and the other facing the bass, listening for the best mix of timbre, direct sound and room to give the greatest impact. I the put a mic there, right where my ear is, pointing at the instrument. Sometimes you have to tweak it a little from there still, but most often thats pretty much bang on! If on playback that mic is lacking something then I may rarely put another mic up, but in that case I tend to spot mic the part of the instrumetn which gives that par tof the sound that is missing and I am very careful to check phase, and filter out all but the 'missing' area and then mix that with the main mic as little as I can possibly get away with. Recorded well you should not need to reach for more than a touch of eq and compression in the mix IME. The AT4033a you have would certainly cover all the basses for a main mic on a cheap acoustic bass for me. I would defintely look at spending far more time on its positioning, and your playing technique to be honest. If you have to buy something then get a new really good set of strings (Thomastic Spirocores sound fantastic on my son's DB, really punchy and bold in a Big Band), they cost more than your bass, but are definitely worth it! As an aside in a really fantastic sounding room for something a little more classical I often like to use a stereo pair in the place of the single main mic so as to get a better sense of the space. In the mix I probably wouldnt spread them full width, but just having that option can really open up the 'reality' of the instrument.

I dunno. I think this guys efforts seem a tad simplistic. However I'm willing to gove this guys efforts more benefit of the doubt:- [url="http://www.tdpri.com/forum/tele-home-depot/169606-1960-jazzbass-build.html"]http://www.tdpri.com...bass-build.html[/url] But then he seems to be able to explain what he's doing better, and the result can be heard here:- [media]http://www.youtube.com/watch?v=v6E7iSATY7M[/media] And it certainly sounds how he describes it in the build diary. However a much larger change to the tone is the use of the original felt mutes, which really do make it sound a lot more like a double bass:- [media]http://www.youtube.com/watch?v=QwYoi9G67DU[/media] Personally I think the strings make a more overt difference to the final tone than whether the wood is quarter sawn or not or when you hit it with a mallet it goes pink or thump in a certain area of the uncut blank. And dont lets go near the possible changes caused by different electronics!

Reaper does not need jbridge.

I have gigabytes of rehearsal recordings. Being a band that jams a lot when writing they are invaluable. We just finished a new track by taking something we came up with on tge very first time we got together over a year ago, and using it as a bridge. Brilliant!

Because you are sick of the weight and the alternative sounds as good or better and weighs significantly less. IMO BF cabs don't look at all DIY, and the finish is just like that on absolutely top quality touring PA cabs which are covered in that stuff because it's so resilient on far heavier (two man lift minimum) cabs. If you haven't played with the gen 3 cabs don't comment on the tone, it's significantly more impressive than any other cab I've ever heard (specifically the Big Twin here) the only downside is it's a big cab....

I use a Zoom H4n with pair of Line Audio CM3's as well as the on board mics Granted this is a step up in "faff" from where you are going but with the device as a stereo OH pair over the drum kit and the CM3's as a very careffully placed room Mic I've repeatedly got recordings at least good enough for demos to get gigs with I think the H1 would do you fine....

[quote name='Toasted' timestamp='1381500370' post='2239937'] This is a very grown up discussion compared to normal, isn't it? [/quote] poo face...

[quote name='TenLetters' timestamp='1381494932' post='2239843'] [size=4][color=#222222][font=Arial]Si - we have a couple of new songs coming together already so will be in touch hopefully at some point in the new year if you're happy to do some more work for us [/font][/color][/size] [/quote] Absolutely!

Oh cool! Only just seen this, sorry. Had no idea that they were a fourtrack recording, just goes to show its not the kit, its the songs that count. Really enjoyed mastering the entire album, really refreshing, I hope you do loads more stuff together!