51m0n

[quote name='Mornats' timestamp='1379665678' post='2215349'] Ermagherd! Finally! Download link? [/quote] Mans got keep some secrets baby

Where ever you ended up putting the vst when it was 'installed' (hey they are just dll library files, they dont really need an installation per se), just point Reaper at that folder and you're golden, you dont need a seperate area for 32 bit and 64 bit VSTs either. Personally I have a seperate folder for VST and VSTi since it makes searching for stuff easier. Also in Reaper you can get it to show the directory structure in the list of FX which can really make finding the cool nifty new patented [i]TALENT_ENHANCER[/i] plugin much easier to find!

[quote name='Oopsdabassist' timestamp='1379595565' post='2214597'] Looks like I'll definitely be along on Sat, I can bring my old Yam with the bright green strings if anyone's interested on how they sound/feel. Any chance that someone coming has some Seymour Duncan P pickups they wanna flog? [/quote] Yes please, mentalist coloured strings would be a laugh, but I dont want to find out they sound/feel like something I'd rather not put on my bass

I play active, I prefer the sound, but I dont make much if any use of the onboard tone circuit, and thats not what I want active for, its the more stable tone regardless of cable length and so on that got me into active. That and the signal to noise ratio sometimes being far better on a good active circuit than a passive one through a long lead. If I roll all the way to the bridge pickup I may add a touch of low mid or bass from the onboard eq in a live situation, but I'd always prefer to use the amp, or an even better eq if necessary if I'm recording. I dig passive tones too though, in fact one of my basses has a passive treble rolloff and active pickups, which is a lovely solution IMO.

Chaps if there is a real desire we could add another few weeks to this..... I'm not going to say how long I spent on it for real

[quote name='discreet' timestamp='1379503572' post='2213376'] I just knew compression was all about getting a banana and a tangerine through a roll of gaffer tape. [/quote] Exactly! My work here is clearly done... Actually that may have been more about phase issues in mic'ed up drumsets, or was it more to do with the fact I was peckish????

Nice to see you making it Alex, was touch and go there whether or not I would have to find a way to fit some BF goodness into my already splitting at the seams car for everyone to have a play with Once again, although I'm not 'officially' going to bore people to death about compressors or mixing or any of that old tat this year, if anyone has any questions about that sort of thing feel free to accost me in a friendly fashion, never happier than when I'm boring people stupid about recordingy stuff after all

Nah TC say and sell it as n watts, when it isnt, its g watts run through a multiband limiter/(other assorted shenanigans) rather like a simple digital mastering cover all solution, in order to get a higher average level to peak ratio (think radio station broadcast limiter). The amp runs harder than a real n watt amp to achieve the same level as an n watt amp (by which I mean in achieving that same level the amp is running closer to its theoretical maximum more of the time - just look at the graphs in the pdf). Which may or may not worry you. It also means the transients are very definitely curtailed, and that is something you may be able to feel. I can honestly say the TC stack sounds really loud, possibly louder than my rig in fact, but I prefer the sound and feel of my rig (I had a day with my rig sat next to Charics - IIRC - at a previous bass bash, so this is a personal subjective impression of the two rigs suide by side for an extended period of time). I have no problem with that approach from an engineering point of view, if they said thats what they did, but in their initial push to market (anyone remember their bass 2.0 ads?) they kept this all very quiet. Any kind of limiting or compression is a form of distortion of the signal, and to claim they have 500, 1000, 1700 watts of [i]clean[/i] usable power is frankly a lie. Whether this is a negative thing is entirely up to you of course

Deadline is Monday 23rd September. Not surprised if anyone has struggled with this, it is a veryu very busy piece of music when you stack up the BVs. Am surprised at how little talk there has been on this thread though..... You dont really need to master it, other than maybe a few 2buss eq tweaks, and the tiniest bit of glue, remember we are after a nice k12 level here, so any limiting is just going to lose you punch and overall level compared to everyone elses (because k14 measures average volume, and a compressor or limiter will effectively raise that, k14 will require you to turn it back down).

[quote name='jcater' timestamp='1379352954' post='2211641'] Will definitely be there as for once I'm not playing on the same night. Not sure that there is much I can add to the fantastic range of gear that is coming, but look forward to meeting everyone. Does Bernie Goodfellow go to these? Jeff [/quote] He came to the Brighton one a few years ago, as did Herbie Flowers who was awesome as usual....

Loud and clear, IME it can really help to swap the tube out for something a little smoother sounding, the treble is somewhat harsh with the standard tube. Great head for the money.

[quote name='Matt P' timestamp='1378069314' post='2195565'] We did consider a studio but we don't play well individually, it's more about the interaction and the live sound, the plan is to set up the gear and record during an extended practice session, we only need to get half a dozen songs down to show that we can actually play. We're a 3 piece band with only one singer and want to keep it very live sounding. We did have a go at this before but suffered from an overloud guitar as we mic'ed it, we're going to use the line out feed this time which should help a fair bit. [/quote] Don't DI overdrive guitar! It sounds utterly gash. No reason a miced guitar should be too loud....

Are you bringing that to the SE Bash???? You look like you are trying very hard not to lose control of several important sphincter muscles in that photo

Love that, excellent mix, good grooving rock. Not often a big fan of the rock these days, but this I like a lot, the French accent is ace, reminds me of The Young Gods Well done!!

Mmmmmm beard....

Span the desk across the corner making a triangle behind it (optionally a basstrap in that space is a great idea) That is your only option in a corner for getting the output of both speakers to be the same. You cant fix this with eq, or port stuffing (bass is omnidirectional) or any other solution at all.

Pro players want money first if you are only interested in telling them what to do. Give them creative input into a project they really like the idea of and their requirement for hard cash up front can diminish at a very rapid rate IME...

If anyone ever suggested I [i]should[/i] play for free, I always come back with the fact that its only fair I 'break even' for time, effort and equiptment expenditure to be there. This usually works with bar manager types, because you can word this riposte in a very similar way to the expectations of, say, a tradesman that they might hire to fix some issue at the premises. At this point the conversation becomes more along the lines of what that cost to me actually is. Then I break down my costs, and my hourly fee (ie that of the entire band) and what the expected draw is for them, and the coup de grace is to point out I am offering them the special low low rate of [font=lucida sans unicode,lucida grande,sans-serif]<[/font][font=lucida sans unicode,lucida grande,sans-serif]££££ [/font][font=lucida sans unicode,lucida grande,sans-serif]insert what you wanted in the first place here ££££>[/font]. If you do this right you can tuly make them realise what asking you to play for peanuts actually means. Its never failed me yet... Of course these days I play for wanton pleasure of the One, so its a moot point, but like I said before, we've always managed to break even

I earn cash at work five days a week. I compose, rehearse and play music with my very original funk band. We play 'real' funk originals with a cinematic twist. If we break even I am in equal parts amazed, surprised and overjoyed. So far we have always managed that! I love rehearsal time as much as gig time, since it is a highly creative endeavour. I have played covers fir cash and it bored me senseless.....

I don't mind any impromptu questions on recording, mixing and mastering. Anything from how best to record rehearsals to what should I expect from a professional mastering job.....

Sounds ace to me matey!

Reaper is the best bang for the buck.....

+1 to Red5Audio.....

Loving those Andy Irvine videos!

[quote name='Annoying Twit' timestamp='1377779987' post='2191674'] Thanks all. I feel that I have some feel, but there's a big gap between me and the pros. And this is really the thing that I want to push. Part of my practice routine is a collection of riffs, and the riff from Herbie Hancock's Headhunters is part of that. It includes the staccato notes mentioned. I've found if I play, for example, the introduction to the [url="http://www.youtube.com/watch?v=ox-DmJ9H3ng"]Barney Miller[/url] theme by itself, then it sounds reasonably like the original (not super smooth or funky but better than me), except at the moment I have a trade off (starting from an F) where the C to A transition is difficult for me and I either make it a bit wonky or get an overlap between those notes which sounds wrong. However, if I use the drum patterns in my Zoom B2 as a metronome, I find it tends to straighten out my timing even more, and it sounds a bit robotic then. [/quote] Take the 8th notes out of the drum machine, never allow anything other than straight quarter notes, anything else is going to remove your ability to groove. WOrk with a handclap sound, its more natural than a BIP or click. Set it to quarter notes, play your groove. Now half the speed and play the groove the same first with the metronome on 1 and 3, then far more importatnly with it on 2 and 4. Thats where the funk is. Right there. You are the master of the [b]ONE[/b], not the machine, you accent one real hard, and swing through the beats, dont let them be straight ever, slide that time around - if it isnt making you walk like a pimp it isnt the funk Remember its about not playing more than playing in classic funk too. [quote name='Annoying Twit' timestamp='1377779987' post='2191674'] [b]It would help if people could recommend individual songs where there is simple, but well-timed, playing. Amazon MP3 purchase account and time-stretching software are both ready and waiting.[/b] [/quote] See above for starters