51m0n

Not at all....

http://www.youtube.com/watch?v=lifn7KXC5fg

The original intent was for it to be a Mix 'Competition', as opposed to a Remix Competition. Heavy on the sharing of the how you did something to make the stems available sound great, rather than replacement and reorganisiation for your own creative ends. There are still good reasons to make some arrangement changes, (normally they would be more to do with muting unnecessary things) and given the issues on the stems there is a good (unusually so) argument for drum replacement. Keep in mind the idea is to present as much as possible the performance you are given in the best light it can be, rather than turning it into an example of EDM when its supposed ot be reggae

[quote name='xilddx' timestamp='1371559781' post='2115482'] [url="http://basschat.co.uk/topic/7919-how-was-your-gig-last-night/page__view__findpost__p__2112624"]http://basschat.co.u...ost__p__2112624[/url] [/quote] Heh bad form - how many times have I've mentioned that sound engineers who dont run their rig at appropriate voluems for the venue are the scourge of live music in this day and age - and its always the bands who get the bad rap for it too!

[quote name='xgsjx' timestamp='1371562271' post='2115545'] As long as you don't do to me what they're doing to the poor drummer! He's getting replaced by a frikkin drum machine!!! Edited to put the smiley in so no one thinks that I was being serious. [/quote] Mr_NigelClutterbuck_VST for you I'm afraid

[quote name='Dad3353' timestamp='1371559487' post='2115475'] Thanks for the 'thumb's up' on my scatter-brain mad scheme. Another question, a bit more delicate, maybe..? Can I re-do the bass line entirely..? As an engi, I'd do the best with what was played; as a producer, I'd ask for another take (it's not the playing, it's for a different style, or feel...). Is that going too far..? ([i]Ducks, runs for cover behind drum baffle, plonks hard hat onto bonce[/i]...) [/quote] Ooooh ontentious! Didnt we just have a great big long thread on here about exactly this type of shenanigans eh?

[quote name='xilddx' timestamp='1371553946' post='2115334'] It was a truly crap gig mate, and yet we got great comments by people you would expect to know better. I've been depressed ever since [/quote] Have you got a recording of it? If you dont you honestly cant be sure. Oh you can be sure thats how you felt about playing it on stage where you were, but unless you have a decent recording of the FOH in the room, and the audience reacction to the gig in the moment you cant judge a gig purely on how many cockups there were. Even if you can hear bodges in the recording, its the audience that 'know best' regarding the energy and the excitement and emotional impact you delivered. Right notes certainly play a part, and all the better if they are in the right places, but I am a pretty firm believer that the right notes int he right place must also convey the right energy and excitement and emotion to the audience or you may as well be a wall of washing machines as far as the audience (and me) are concerned.... Actually I'm going to add a bit more to this. I've only seen BigRedX's band once, in a nice little venue in Brighton. They must have travelled for hours to get there that evening. If I was to get all self important muso w***er about his band, I'd say, the guitarist looked great, but she did play a few duff chords, she missed a couple of queues, and I think her guitar went out of tune a couple of times. I'd say that BRX himself has possibly the most crabfisted excuse for technique on the instrument I've ever seen, he looks great, bit short though ( ). I couldnt hear most of the words due to the singer's extravagant flailing around and daft over theatrical nonsense, great bit of Theremin though. The drummer, I'm sure is a lovely fella but comes across a little quiet, maybe even scared of the rest of the band. On the other hand, if I were to express how I felt about being there in the atmosphere they created, in the presence of that furious mad hair ball of energy that they produced, I'd say it was one of the best gigs I've ever seen, just glorious, and every band on this forum would love to see them play, and couild probably learn a few things about ditching their inhibitions and actually performing to the audience. I rather think they didnt wander off in to the night after that gig all het up about the couple of possible almost train wrecks there might have been - if they did, they needn't have....

[quote name='xgsjx' timestamp='1371557745' post='2115426'] In the mix that I did, I used a couple of duplicate drum patterns to do just what Dad asked. I didn't know about that what 51m0n has shown was possible. I had thought that something that could do it would be cool, but expected it to cost a bit. Cheers for that! [/quote] Well thats the point of the BC Mix 'Competition' - I hope it helps! You could easily combine Dad's idea with this, to make it really easy to trigger the right drums at the right time....

[quote name='Skol303' timestamp='1371557437' post='2115412'] Nice idea, Douglas! A good way of thinking round of the problem Go for it... it's certainly an approach that could work well in this instance. Some useful advice in the video above posted by Si. I knew you'd be tempted mate... maybe just room for a wafer-thin mint?? [/quote] F*** off, I'm Stuffed!!!

[quote name='MiltyG565' timestamp='1371556418' post='2115387'] That's cool! Is there any way to do that in Logic? [/quote] Almost certainly, but I havent used logic in anger for over 12 years and so couldnt possibly comment on what you can and cannot do with it in its current Mac only form.....

Wish I had time to do this one now OK for all those Reaper users out there, you can replace drums using the built in gate and any midi firing drum tool (or even Reasampler and a drum wav you like):- http://www.youtube.com/watch?v=ZKumkYIDar8 If you did this once for each drum in the kit you can get as medieval as you like to filter the drums before the gate and run off each new drum kit item to get totally clean drums to add back to what is there or replace it altogether....

[quote name='xilddx' timestamp='1371553503' post='2115326'] I always love vocal cues the most. I use them a lot. But doing that when the lyrics are in Zulu, and you have a repetitive one bar bass line with repetitive drums and an improvising percussionist over 92 bars before a one bar drop, one can either count (impossible and awful to do), or one learns those vocals. If the vocalist loses it too, then one is f***ed. It happened on Friday. We f***ed it up beatufully [/quote] Hah! Excellent, but I bet you just all carried on as if the f*** up was whatwas intended all along

[quote name='BigRedX' timestamp='1371546654' post='2115198'] Try being in a band with a man who regularly sings the verses in the wrong order, who transposes lines within a verse and who will sing some lines from one verse and others from a different one. By the end of the song we'll have had all the lyrics - just not necessarily in the order that they were originally written (and maybe recorded). The only way for me is to simply practice the songs until I can play all the parts in the right order with the right number of repeats of each part without having to think about it, but can still if required cycle around the main riff until Mr Venom starts to sing. [/quote] Not to mention the fact that while he does this he's running amok in the venue, hanging off the chandelier in nowt more then his keks and some big s*** kicker boots. Its a disgrace! (Or a damned good show, but I digress)

[quote name='cytania' timestamp='1371545658' post='2115183'] Sing along with the words, makes the band seem really into the song. If counting try and visualise a large number right there on the fretboard. [/quote] Yeah, no lyrics or vocal melody clues for me, and I dont look at the fretboard at all when I'm playing. I'm so busy playing, and kind of directing the band that I find I havent got a spare processing thread left always to remember where the hell we are. My solution is to try and off load this on the horns more, they are less busy than me, consumate pros at counting, and more free to signal the rest of the band. Find out how this works out over the next few rehearsals.......

No ta

Oh no I missed that....

I never used to get this at all. Then I took a long break from playing and get it a lot. Especially now I'm in an instrumental band dping very very long funk tracks. I'm rubbish at counting!

Ouch! Don't leak the red oil....

[quote name='MiltyG565' timestamp='1371483513' post='2114409'] Is your avatar a clanger? [/quote] Errr no, my avatar is Deadlock, the Grand Wizard of the Knights Martial (a group of highly intelligent robots with psychic powers), sometime A.B.C Warrior, and all round clever (if not exactly good) git.... All hail Khaos.... All hail Khaos.... All hail Khaos.... All hail Khaos.... All hail Khaos.... All hail Khaos.... All hail Khaos.... All hail Khaos.... All hail Khaos.... All hail Khaos.... All hail Khaos.... All hail Khaos.... All hail Khaos.... All hail Khaos.... All hail Khaos.... All hail Khaos.... All hail Khaos.... All hail Khaos.... All hail Khaos.... All hail Khaos.... All hail Khaos.... All hail Khaos.... BZZZZZZKKKRRTTTCHHHTTT....? Err sorry, as you were, carry on, dont mind me, I seem to be leakign a bit of oil on the carpet, I'm sure I'll be fine....

I like the Clangers, the Soup Dragon was an evil git though!

[quote name='TimR' timestamp='1371479021' post='2114320'] Manufacturers quote silly figures. Sennheiser say their pro 330s go down to 8hz. In reality the 3dB point is closer to 110, which is already half volume at low A. Your brain is very clever at putting in the things you know should be there but you can't detect. [/quote] Errr, I can tell the difference between something below 110Hz being there and not, my brain is pretty good at doing that, has been fo r agood while now, there is no reason whatsoever to believe headphones dont put out that bottom octave. I have, let me see, three pairs of headphones that categorically do, a pair of Sennheiser HD575 a pair of Studiospares M1000 and some RCA earbuds. They really do put out the low octave, all are different but none of them are 3dB or more light below 110Hz.

[quote name='iconic' timestamp='1371223439' post='2111425'] I'm not stupid, many may argue that statement but I've got letters behind my name should I choose to use them (I think and they don't all end in T?) I'm a member of the Institute of Mechanical Engineers don't ya know.....which means I can go and sit in the library at Birdcage Walk should I take the fancy but.... .....near field, far field, 'inside the wavelength'....it's all very conflicting, the fact remains it [u][i][b]does[/b][/i][/u] sound better a few feet away than in front of the speaker.....but can anyone explain the reasoning, in simple speak to a dumbass like myself.....acoustics wasn't on the sylabus at college for a mech' eng'. thanks in advance. [/quote] It's exactly the same with all sound sources. If you are within the near field distance then the various parts of the source: ie on a DB the entire body becomes various parts the produce different aspects of the total sound, on a bass speaker the tweeter the port and the driver(s) are acting as single point sources to the mic. Each one produces a part of the sound and getting the mic in exactly the right place to recreate the balance of the sources together as heard from outside the near field distance is almost imporssible to do exactly. This is being confused slightly with Critical Distance. This is the distance away from the source where the reverb level from the surrounding space equals the level from the source. In other words the amount od sound reaching the microphone having bounced off the boundaries to the space you are in is the same as the amount of sound reaching the microphone directly from the source. In almost aqll cases this sounds like poop in a recording. If you are using an omni mic you shouldnt get further away than 1/3 of the critical distance, a cardiod mic changes this to about 1/2 of the critical distance. In the same way audience beyond half the critical distance in a room experience the sound of a band quite differently from audience within this area, any concept of stereo from the band is so muddied by reflection as to be worthless, and unless the room has a short and very even RT-60 they wont hear bass in a tight and refined way. Hint, you arent playing somewhere with a short and even RT-60 time (time taken for the reverb to die down by 60dB if you are wondering) - unless you are in a seriously properly treated studio live room. In fact most venues have a pretty pants critical distance too since they have no absorption other than meat, and that is a very variable and uncontrolled absorption methoid at best .

Too late

Sm57 is fine combined with a DI....

Ok Mic and DI. 'Best' DI for bass is probably a REDDI. Phase issue... 1 put DI and Mic channels up equal volume on the DAW Watch the meter Play the bass. Any note. Or crank the gain until noise is showing in the DAW meter. Move the Mic When the meter on the combined tracks is at its highest you are in phase Time domain doesn't equate to phase quite either. Phasebug is a VST for adjusting phase, there must be something similar for Macs...