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I kind of missed out my Zoom H4n, oops! I use it with a pair of Line Audio CM3 SDCs (unbelievably brilliant mics, immensely recommended, unbeatable for the outlay in fact) in 4 channel mode for capturing rehearsals. Here are a couple of examples of what it sounds like (and yes I have done some 'mixing' of the 4 channels in Reaper, but still no close mics, this is what was happening in the room):- [url="https://soundcloud.com/mistersuperjuice/a-bit-of-funk-in-9"]https://soundcloud.c...it-of-funk-in-9[/url] [url="https://soundcloud.com/mistersuperjuice/bring-that-funk-on-up"]https://soundcloud.c...that-funk-on-up[/url] And a big ole jam for the horns to figure some stuff out:- https://soundcloud.com/mistersuperjuice/what-it-is-and-what-it-aint Perfectly good as a documentary tool, in fact it sounds better than some project studio stuff I have heard (esp from back in the 90's!) IMO....

We'll have to come up with another way of getting the stems to people though. IIRC there will be too much duration to get on a free soundcloud account. Any ideas welcome!

Who fancies a crack at mixing Kit Richardson's You Look So Good Tonight? Follow the link in my Sig to hear it. Proper bit of mixing this serious track count etc etc and incredibly thoughtful if Nigel to take it upon himself to ask Kit, even better that she said yes!

Crikey.... Started with any old tape deck, then two tape decks to 'overdub', moved very very quickly from there to a project studio (didnt own it, learnt and worked in it), That was a Studiomaster 24:16:2 desk with a Fostex G16 and a bit of outboard, couple of C414s and a bunch of other mics. Then on to a larger studio where people with recording contracts would turn up and do pre-production and so on. That was all ADAT - we hated it day to day, but the fact was if it didnt chew the tapes up you got no real reduction in quality once it was down regardless of how many times you played it when tracking and mixing - and a bespoke 24:8:2 fully balanced desk that we built ourselves(!) over about 2 and a half months. Great desk, good times, I helped them build their studio 2 in the old pig shed too, which was a huge education. Live room in the big studio was a huge converted barn, beautiful sounding room, and no treatment at all, just the shape was good for sound. Oh and there was some time with a Fostex DMT8 in there, got an awful lot out of that kit, Akai DR16s for a bit. In the studio now its HD24s (two of them in the studio) which do work well, a big ole Mackie 32:8 which is just a glorified monitor mix (nothing goes through those mic-pres), a bunch of tasty mics and so on. Hardly much outboard though, its all mixed on the protools rig on a grunty Mac. At home its a laptop and an RME UCX interface running Reaper. Still working up to a stellar Audient ASP008 so I have ten great mic pres for guerilla tracking drums with. Not cheap though

Now that would be telling

Voted, toss up between two for me, but the slightly better drums (replaced to heck though they are, the treatment of the cymbals is really good on them too, but the replacement/enhancement has been very well executed IMO) of the one I eventually voted for won the argument. I preferred the other ones low end mind. Very fine efforts all around chaps!

I think there are some fantastic examples of 'lazy' grooves in The Meters, Sissy Strut for one, and I think the drums and bass feel like they are sort of pulling in opposite directions a tad on that one too. Funky as hell though...

I have a DB in the house that I cant play (Plux does, very occasionally these days), would be interested in any kind of a starter, its a fantastic sounding thing, and there are definitely places Id like to be able to knock out a hip hop style banging b-line on the big bass

A compressor will raise the noise level An expander can lower it

£200? Add at least another 0 on that [url="http://www.studiocare.com/antelope-audio-zodiac-hd-mastering-192khz-d-a-converter.html?___store=default"]if you want to get serious[/url] Ped No idea aboutacceptable quality for stereo DACs like that, sorry....

I know what you mean Lozz, especially in really agressive genres that transient spike of string torturing pain as you crunkk through a string with a heavy pick is exactly 'right', you dont get that playing softer, which may be why Iike really punchy basses and bass rigs, since I play light that seems to go a long way to making the whole sound nice and present for me. Its still a very different timbre than that blasting away hard one, but it certainly works better for how I play. I'm certainly not the lightest touch I know either, I think Urb is significantly lighter than me again, and when it comes to slapping from what I can tell Ped slaps with fairy dust and unicorn feathers lest he marr the finish on his Vigier necks

Good plan, you have to find your own way to a certain extent on bass, because there is no fixed way. However I really think a lot of bassists see the instrumetn as super physica because the strings are fatter, when in fact, because the notes are so deep the strings arent really fat enough! Compared to Plux's db my Roscoe can be played with the lightest touch imaginable....

I have a slightly different opinion. I like to play soft(er) than most, quite significantly. My 'cruise' level dynamic for grooving, when I'm properly 'in shape' is very very relaxed. This means I can accent any note in, say, a 16th note passage significantly with only a little effort. Which is really good for faster funk grooves. If I have been playing too much acoustically (ie cant be arsed to even switch on the practice amp) then I lose this and end up playing a lot harder at a cruise volume and that actually reduces my dynamic range because I cant throw a big accent in so easily. I also find that with the busy way I tend to play I cant keeep it going for any significant duration when I lay into the strings too hard. I'm playing tracks up to nearly half an hour long now, and its a completely different world than playing pop songs in terms of raw endurance! As for playing quietly, well my band enjoys dynamics down to a whisper level (drummer is a wizard at playinig with great groove down low where only spiders can sense the vibrations), and I have no problem keeping things extraordinarily quiet, but again you just have to practice it. Noisy effects are another thing though. Simply put, if they are significantly noisy then I dont use them, no effect (that you would keep) is noisy when you turn it off, so if you are going really really quiet and the effect adds too much noise then dont use the effect at that point. If its too noisy when you are just bubbling along in a groove then the fx unit is pretty poor. Having said that the Roscoe has 18v active electronics and is not a shy bass at all, its got nice hot output and a really good signal to noise ratio, which means I can play soft and its output is hot enough to be a bit more than a passive bass played a fair bit harder. Win win IMO....

I love this thread

What is theis bookshelf? Floorstanders all the way, my wife was taken aback by the vastness of our current speakers, until she heard them, loves them now....

I really don't know I run 45 to 130 and as long as I don't dig in to hard its fine, but occasionally in the hest of the moment I twat it when slapping on the low b and it's all a bit splaasnk.... I blame the idiot playing it entirely!

They sound fab But maybe the low B is a little too flexible?

They are by no means the first to produce a plugin to do this, and it's not the best one either IMO....

Errr yes if you spend the time on it, like any othet technique. Have a listen to some Tribal Tech, GW made a name for himself playing super clean fast grooves on fretless....

[quote name='Coilte' timestamp='1374244209' post='2146849'] I agree. My point was that if you are playing strictly by ear, i.e. copying exactly what is being played in a song, you dont necessarily need to know theory, or for that matter, the actual notes you are playing. [/quote] But you wont know why it works, you wont be able to write your own stuff outside of a formula you have already heard. The neck is just a big dark mass of notes with a couple of preordained paths through it, everything else is a mystery in comparison. In comparison a person with good theory, and more importantly even, a good grounding in the practical use of that theory (which starts with knowing your fretboard inside out, something I cant claim, there are still shadowy areas on mine where I rarely go!) can play basslines that move further around the neck, can make another persons bassline their own etc etc. Ultimately this is more rewarding than juyst regurgitating a list of positions on the neck in the (hopefully) right order, and something along the lines of the original rhythm. Oh you can write 'by ear' which is great, but it will take you an age to find notes you can hear in your head. compared to someone who has the theory to hear the sounds in their head and know what key they are in, how they relate to each other, what harmony the imply, how to manipulate that harmony for desired effect. Theory doesnt stop you being you, it just opens up some possibilites and lets you get places with less time spent on a diversion....

[quote name='Kev' timestamp='1374182176' post='2146293'] Actually quite weighty for a roscoe, comes in at over 10lb, balances so well though you don't really notice the extra weight! Plus, no matter how light swamp ash is, ill always prefer the look an deeper tone of Spanish cedar, it's gorgeous [/quote] Ouch - too much for me, I'll stick with my anorexic little one ta

In answer to the people suggesting the only time you could want a serious interface I would point out that until I got my RME UCX I was always aware of a certain level of instability in the way the interface and the computer interacted. The latency of everything I tried before wasnt so great either. Not always unusable, but lets saying occasionally annoying none the less. Whilst you wouldnt realy benefit hugely from the fab mic pres, exceptional ADA conversion and the really clever software interface that the RME brings, you would [i]definitely [/i]benefit from the unmatched driver stability whether you were recording yourself for your own enjoyment or trying to record a band a bit at a time.

A lot of decent starter kit out there, m-audio is Ok , focusrite is OK etc etc You need to sit down and think firstly what are you ever going to record, if its just you layering stuff then a 2 channel interface is the way to go for sure. At your level anything mentioned will work fine, when you want to move up then, if you are still only looking to overdub yourself, I would hugely recommend the RME Babyface, its just about as good a 2 channel interface as you can get. As for software, Garageband is fine for demos and getting used to the idea of recording, but it is wanting when it comes to serious recording or mixing. At that point there is a lot of software to choose from, I tend to bang on about Reaper because it works very very well, is unbelievably lightweight and resource light, is free to try and only about £35 to buy, yet does everything you need it to. And it runs on Macs and Windows.

Only be any good when they can deform the screen to make a tactile area where the controls are. I can hardly type on my phone keyboard, mixing on that would irritate the he'll out of me!

How much does it weigh? Just wandering how much all that sexy wood adds to the weight compared to my Anorexic Century Standard 5....