51m0n

Better nail evreything down in the room before you give it the beans or it will knock stuff over

Oh wow.... That going to take me months to wade through, and I'll probably only understand bits of it, but still what a humongous resource! [quote name='Dad3353' timestamp='1379965426' post='2218910'] The humble triangle is often under-estimated in its emotive power and ability to 'drive' a full orchestral piece to frenzy. Well-arranged, such choice parts are reserved for the more experienced percussionists. I often weep just at the thought... [/quote] Triangle played well (with full use of choking and all that gubbins) is a brilliant sound in my band, our percussionist is adept at taking his triangle and using it to lay a really neat pulse across 'darker' dynamic sections, totally brilliant, and lets the drummer ease right back on his kit and just accent things. I guess we arent the average funk band playing Play That Funky Music mind

I think pretty much any really good cab will tend to show up deficiencies in what goes into it more than a less good cab. My Berg forced me to go back to the drawing board I can assure you !

I've made usable recordings with a Soundblaster. It just wasnt as easy to get [s]great[/s] usable sounds, be confident in tracking more than a couple of tracks, be able to get a low enough latency monitor to feel really comfortable overdubbing etc etc. Like I said you can make good recordings of music with these devices, just bear in mind that given they are built to cost there are definite shortcomings somewhere. Until you've used RME kit, for instance, you haven't used the most stable driver package on a USB interface available today. This is partly because RME are the only manufacturer to roll their own USB chips, so their driver and hardware are more tightly aligned than anyone else. Small wonder its so damned stable and fast even under Windows then. Until you've played with Apogee you haven't seen how tightly its possible to integrate an interface into the Mac OSX either, although I'd hardly say RME are struggling in this regard, again their hardware advantage is very evident in the UCX's sub 2ms latency times on a Mac. And Audient are a small British company who've a reputation for excellent mic-pres that go in their big desk, 8 channel mic pre and their brand new interface (which reviewers are saying is a better bang for your buck than the Apogee DUet 2, which is high praise indeed). Steinberg make some fantastic kit, their UR824 is particularly well regarded, 8 channels of very usable mic pres and an interface all in one, for £650-ish, ace! Focusrite's consumer kit is fine, but its not going to come close to the better stuff, a lot of people reckon they've taken a dip into the economy bucket since the series 1 octopre, although their upper range stuff is still excellent. Recording kit is like bass kit x1000, yes you can play a decent song well on a starters bass, more than ever these days (Squire stuff is fab, as are the Ibanez SR series for instance) but ti wont sound as good, or play as well as a really good instrument, and that really good instrument makes it easier to play the same song. Just saying...

[quote name='skychaserhigh' timestamp='1380234309' post='2222778'] Well , talking about Barefaced in any way other than high praise certainly gets some people stirred up doesn't it ?? I seem to have broken some sort of Basschat golden rule there , don't worry , I won't do it again ...!! Enjoy. [/quote] Well have you ever used one in anger? Yes they are capable of truly surprising volume, as a result of which you could probably get away with a smaller cab than you are used to (although you may need a more powerful amp to drive it - less so with the larger cabs, less so again with the latest generation cabs, which are very efficient IMO). I think each generation I've heard has been tonally better than the previous effort, they are a product line that is improving in all respects, they sound better, they are lighter, they are more efficient, they are srtonger than ever. If you havent actually used one at least in a rehearsal space with a band then you cant comment on the tone really, however if you've had the pleasure of just playing at bedroom volumes you would be hard pushed to be hugely disappointed with the tone of all the range, something there will be close to what you want, and with some eq almost certainly meet your needs in a band setting I would think. They do sound good....

Thought I saw a poster, on a lamp post by what used to be The Richmond pub (later the Pressure Point, now a Yoof Hostel I think) it was, all soggy and sad looking, but I thought it was your lot. I would have come along but certain events completely outside of my control, adn the SE Bass Bash meant it couldnt happen I'm afraid. Sorry mate

This is not the Brighton I know of

Theres a bunch of consumer grade kit out there that will make a stab at the job you require in that price range. No one would suggest any of them had all of the "decent mic pre's, decent clean headroom, decent MIDI, decent ADC/DAC, decent drivers, cross-platform ability and decent software" ability that you really want, they [i]all[/i] fall well short in at least one area, the trick is to find something that falls short in an area you dont care about.... You are looking more in the region of £500 to £600 to get in the interface area where the devices are really getting pretty darned good at everything you could hope for in truth (talking about RME, Apogee, Audient units in that price range). And thats for ickle two input interfaces. I'm not being negative about your desire, I'm just trying to suggest that you keep your expectations sensible given the outlay you are looking to make. I've made perfectly reasnable recordings on very average kit, by working within its limitations and dealing with its frustrations....

Oh you are going to enjoy that on a gig

[quote name='richardd' timestamp='1380184921' post='2221867'] Whils't you are all singing the praises of The BF cabs , nobody seems to mention the poor materials used in there construction. I think if you hit a door frame carrying one it through the cab would fall to pieces ,IMO, [/quote] Thats a pretty uninformed description. Possibly worse than uninformed actually... These things are tough as boots, I know I've actually bashed a studio door frame with one (accidentally) when A/B'ing a series 1 BigOne and Compact with my Berg. By all accounts Alex tests his designs to destruction, by throwing a cab out of a 1st floor window onto concrete, they dont break in one go.....

Nah DI and a Mic works great DI for the sub, up to lowest mids and sparkly top, Mic for mids if the player has some grit in tgeir sound. This will convey 'their sound' better than a VST whilst leaving you max control in the mix IME...

Cant remember who but I had a chat with someone at the bash about replacing the valve in an LH500, and what I'd used on Plux's. It generally tidied up the rather harsh top end and sounds all round a tad tighter in the bootom end too. Anyway it was [url="http://www.watfordvalves.com/product_detail.asp?id=1423"]one of these Harma Cryo / ECC83-STR/HARMA CRYO [/url]from Watford Valves. Worked a treat too, instantly noticeable difference. Recommended

It may shock some of you to learn that a lot of the time if a mixer cant get any upper harmonics out of a bass then they will mix in a large dose of saturation (possibly frequency specific) to your precious bass tone, using any of a number of VSTs rather than some esoteric tube device. Yes even the most Motown of dull string sounds work in the mix because they have plenty of saturation (back in the day from a B15, a tube desk and who kjnows where else in the signal chain). If you have the harm

From the perspective of a mix engineer, new strings every time for every genre. I can easily eq out harmonics, I cant eq them in. With more and more music listened to on laptop speakers as well as TVs and tiny radios (telephones speakers even) I need plenty of 3rd and even 4th order harmonics to get a sense of the bass line to pop out on these speakers and systems. If the harmonics arent there (old strings) then the bass will not stand a chance on any of these systems. If the harmonics are there I can dial them down to remain pretty much masked by other instruments on a 'big hi-fi' set up, but still pop out enough on the poorer end playback system because the low end is not there at all. Help your local mix engineer, use new strings when recording! Your mix will translate better if you do....

A lot of people want to see what each others rigs will do at serious volume though, and that is best done in a decent sized space...

[quote name='Sibob' timestamp='1380031029' post='2219800'] Ooo, also, I won some velcro in the raffle....those who know me will understand how useful this is Si [/quote] Pervert....

[quote name='urb' timestamp='1380023307' post='2219602'] To be fair I didn't slap a note through that cab and as far as I can remember was playing for all of about 5 minutes all finger style (OK maybe maybe one or two slapped notes on the B-string - but there were no 'machine gun' triplets) - the cab was too much for me to be honest but it was fun witnessing such insane power - re any slapping I actually stayed away from the main room after about 1pm as it was getting very loud and retreated to the jam room for some actual bass playing - had a good little play with Kiwi and Nige and our friendly drummer who's name escapes me - but after that the only slapping I did was at my talk - but it was all at a very civilised volume [/quote] True, I think we were more about how hard it outputs a low filter sweep... Cant say it wasnt thoroughly obnoxious of us though I think it was mainly me slapping (badly) though it - largely due to the unbelievable trouser flappage it produced!

Nah mate, I love a bit of slapping me, something like this would tickle me all day long.... http://www.youtube.com/watch?v=oqKTXBK3oPg

[quote name='Grand Wazoo' timestamp='1380014192' post='2219396'] The issue I have had, and I am not complaining, was that a couple of people attenting, maybe more than a couple didn't just turn up with a small amp set up, like for instance, a head and speaker or a combo, oh no! They've turned up with such large rigs as if they were going to play Wembley, this resulted in a watts war between the few individual with such large stacks whereas those like me who carried only a medium sized combo couldn't hear myself thinking, and was unable to let people try stuff or even play a riff as I was completely dwarfed by this geezer next to me with a rig bigger than John Entwistle. Oh and one last thing. Every time there is a London Bass Show at Olympia, the most repeated comments by members of this established forum are complaints about those individual who spoil the show for them with all that [b]slap[/b] clickety clackety noise pollution, and yet. you go to a place like this and [size=6][b]YOU'RE ALL AT IT! [/b][/size]like if it was going out of fashion, saying one thing and doing the other. tut tut.... Fair is fair, if volume and large rigs belong in this Bass Bash meetings, I am not against it by all means but they should be set up in smaller insulated rooms or a dedicated auditorium and then those with smaller rigs can enjoy a more peaceful room with speaking voice level. I am all for a headphone set up next year [/quote] I imagine URB and I didnt help playing with the new Alex monster cab. That thing is insane! Apologies, sorry! Mind you when I was helping Billy Apple later with his compressor I couldn't talk to him over someone battering a Status next door, for hours and hours and hours (it felt like). Got a reasonable result in the end, but it wasnt easy, and I couldnt explain what I was doing or listening for at the time at all.

[quote name='chris_b' timestamp='1380014481' post='2219401'] .... as I suggested earlier, set up in the middle of the room facing outwards (with the big rigs at the end) then no one else is in the "firing line" except the guy playing. [/quote] Bass (anything beloww 200Hz) is omni directional.....

[quote name='xgsjx' timestamp='1379970359' post='2219023'] I'll send you mine now... [/quote] I cant download it yet though

Whatever you've got for PA, learn how to mic stuff up with the kit you've got, a single drum overhead mic rather than a snare mic can sound a lot better in a lot of circumstances than all the fancy close mics in the world, add a kick mic and you are golden for any larger PA gig. Learn how to set up a graphic to cut out feedback - you'll need a reasonalbe 31 band graphic to do this, but its worth it, you can get twice the vocal level, or half the chance of inadvertant feedback when this is set right. Get a wireless so you can listen out front to the whole band whilst wandering about, it doesnt matter how great it sounds on stage if the FOH sounds like toilet! Have funm and doint let anyone off moving kit, especially the vocalist!

Dayummm they cant just be teaching anyone this s***!

How long is a piece of string? Styles will vary what the best choice is for amps and cabs, and there will be endless debate for ever on the topic on this forum. However for DIs you'd have to go a long way to beat the REDDI, its a thing of great beauty indeed....

I have one, sounds great, very robust enclosure, tracks perfectly well for my needs...