51m0n

Markbass cones (at least in their big 410s) move a huge amount, they are flapping in the breeze. My ae410 cones hardly move at all in comparison. Yes I've watched the two closely one after the other, its not an optical illusion. No I cant explain it either, but I would bet an sfx thumpinator would sort that out, and have wondered in the past whether there isnt a similar filter built into Jim's crossovers....

[quote name='iceonaboy' timestamp='1367921279' post='2070936'] Not wanting to hi -jack your thread mate, but does anyone have suggestions for a mic for mic-ing up your cab. I had been pointed towards an EV RE20 , but am open to any suggestions [/quote] Heil PR40 killer Mic for that, and kick drum, and lots of vocals actually...

[quote name='Phil Starr' timestamp='1367933776' post='2071161'] Thanks for all the suggestions. I hadn't considered Heil or Beyer so I'll look into those tonight. I'm increasingly thinking of going for a condenser though, the lighter diaphragm does automatically make it easier to make a decent mic and i love the airiness of the sound, even if it isn't for me. The Shure87 is looking interesting. any other condensers people have tried? [/quote] Forget caring about condenser vs dynamic, the Heil's go as high as a condenser usably can live and have a very light diaphragm, they don't sound like a dynamic!

Heil PR35

[quote name='Rumple' timestamp='1367599108' post='2067470'] Apologies I misunderstood and thought the idea was using more fingers to play faster I'll get my coat. [/quote] Yes, using 3 fingers allows you to play faster, because you use each finger less often, if you keep using the middle finger for every other pluck it is used as much as in a two finger technique, so the limitation is the same. Although using three fingers does make string crossing a little easier even then IMO. For me its not so much about raw speed though, I find I can cross strings far easier going up using three fingers than two, and I get more muting 'for free' from my right hand. I am a very strng believer that muting is a right and left hand thing, neither one nor the other takes precedent, for me, the left hand tends to mute the higher strings that arent played, and the right hand thumb (floating thumb technique on 5 strng is a must for me) tends to be in charge of stopping the fat strings resonating unwantedly. But the extra funger plucking away does also tend (for me a tleast) to mean I get a chance to do some other muting with the RH fingers too, that I just cant get to wok when only uising two fingers.

One of these days I may get around to adding some more to this, once I'm not tied up running the mix comp

Make it private on soundcloud. Make sure its downloadable. Send me the link via a PM Better send a wav rather than an mp3....

That sort of defeats the object though. Billy Sheehan used to hav a fantastic explaination of how he does it on one of his videos, with awesomely bad hair everywhere, and terrible jumpers too IIRC....

The track needs to measured with a K-meter at K14, and not go over 0. Yes it will result in a damned quiet track, this isnt what K-meters are really about - and there really isnt space here to go int that! - the reason for using a K-meter at all is that they have strict rules govering the algorithm controlling frequency sensitivity and blalistics (or they should have) so we are all playing the same game of dropping the main out level to the same level as perceived by the same meter. It shouldnt peak over 0, it shouldnt light up anything over 0 at all, at any point in the song.There is no limiting involved in any of this at all, its all measuring.... If you cant figure out how to get Span to do that submit what you've got and I'll sort it in Reaper...

A couple of hundred to mix and master one song would be more accurate. Still think someone else should do your mixes?

Not without getting some genuine mastering software like Sony Cd Architect, no....

The DDP is the real unadulterated truth of what you recorded/mixed/mastered, its the data and nothing else that makes up your songs in the right order, with the exact right gaps between them etc etc. If they derive their effort from the CD, then it will be from a CD audio read (not a CD data read), and that means it has far more 'tolerant/lenient' data comparison, basically an audio cd can accept wrong data in lieu of a perfect read of the disc. This is to help maintian the myth that cds are bullet proof for as long as possible.... If at all possible work from the DDP. A really really great burn to a mint fresh CD blank (from a quality company) will do - chances are you'll never hear the difference. But it is not guaranteed to provide [i]exactly[/i] the same output as you put on to the CD, but bear in mind a reference CD was pretty much the defacto way of doing this for years and years and years....

This may float your boat a bit more Bilbo? http://www.youtube.com/watch?v=7zmi2LJqfrQ

The TDR feedback compressor is excellent, uber clean and really really nice for level riding sections. I use it a lot (have used all the betas up to its release too).

I've seen him live, thought he was excellent, both the material he played with his band throughout the evening, and his entire personna, very natural, very unaffected, and annoyingly 'cool' as a bandleader (jealousy clearly has something to do with that). He wrote the themes to both Letter from Iwo Jima and the other one of those two films for his dad, and they are pretty darned good film soundtracks as it goes...

Wish I could have been there Nige, give my love to Kit and all the rest of you, just listened to the EP, sounds fantastic, lovely stuff! Si

[quote name='Twigman' timestamp='1367187547' post='2062448'] Did you get my resubmission? I didn't see a reply to the PM yet.... [/quote] I havent had a chance to download it, but I got the PM, and another one, which I also havent had a chance to downbload, I'll let you know when I have so you can get your cloudy space back for whatever else you might want it for...

I too am loving this track - definitely worrying!

Reacomp has sidechaining capabilities - actually it's all around one of the best vanilla get compressors out there - read the reaper manual on how to set it up, it's very well written IIRC...

Yep, that should be kool and the gang...

[quote name='RockfordStone' timestamp='1366820802' post='2057680'] im gonna try this now i have a bit of time one question on k metering i set voxengo span to k-14, as said... now... when making sure it don't go above 0db, is there a way to set a ceiling, or is it just a matter of watching the meter and adapting the mix level to suit? [/quote] Yeah, it is a meter, it does nothing but show you how loud the track is (in a very average level way), set it to not go over 0 and you're done, render that. Simples!

Yeah dont just put out the LR mix, thats the rough mix you're supposed to do better than

[quote name='EliasMooseblaster' timestamp='1366714365' post='2056248'] I think the situation is a bit different in London: most people don't have a car - or daren't drive it through the centre - so a lot of rehearsal rooms have realised they have to provide amps of at least passable quality. So I've played through some decent Trace Eliot combos in some rooms, and had to put up with some hideous Line6 amps in others. Bringing a 115 combo on public transport is something I'll grin and bear for a gig, but for a weekly (or even twice weekly) rehearsal, I'd rather spare my back. We've been quite fortunate, however. Since our drummer started teaching in his own rehearsal room, we've been able to park our own amps in there. So nowadays I can play through my Laney at rehearsals and be content in the knowledge that if it sounds awful, that's probably the fault of the idiot holding the bass! [/quote] Interesting - I'd be inclined to look down the BF midget route (or similar) or a public transport type rehearsal, and a micro head I guess. Only if I absolutely had to though

Looks awesome Nigel, sounds fantastic too, ace job the lot of you! It looks ever so slightly slow-mo but its not distractingly so. I like it

I take my rig to rehearsal. Intially the present band were a little non plussed, after all there is a Hartke 410 and head in the room, a rig I might add that has been defended as a pretty decent piece of kit on this forum before now, a position I would suggest is optimistic at best. Then one week I couldnt get my rig there, and used the supplied Harke stack of sh**. I wasnt the one complainign, I was stood right in front of it, could just about hear myself (and we are a three piece funk band, a with a light drummer ffs!), but the guitarist and drummer were both horrified by the change, I have been asked to always bring my rig please, because it makes an enormous difference to their enjoyment of the evenings shenanigans. I wouldnt dream of plugging my head into an unknown rig, knowing my luck the previous player will have melted a voice coil shorting the cab out completely and I will be looking at an expensive bill for a new power amp section in my sa450. No thanks. For me having a tone I know, and a rig I can rely on to deliver it at the required volume, is vital. Also it really does make a huge difference to me (and my band) to be able to work in rehearsal with the sounds we are going to be getting live. We dont do many gigs so we want to match the gig vibe as closely as we can when writing and rehearsing. And I spend as much time as our guitarist on selecting a sound for a part. I only run about 4 fx pedals these day, but that turns out to be a lot of combinations to think about, especially when combined with all the different sounds I can get out of my hands and pickup blends. And I have never ever found a reheasal room with a rig that was really up to the job IME.