51m0n

[quote name='deepbass5' timestamp='1360624795' post='1973769'] Good find 51 you could take a bag of plaster to the gig and patch the holes made by the pogoing guitarist [/quote] Excellent suggestion, just two issues with it, my dodgy back, and I am officially the worst plasterer the world has ever seen. It is clearly a dark art practiced by wizards of ancient lore, cos I cant get the ruddy stuff to stick to anything but me, let alone a ceiling

[quote name='SteveK' timestamp='1360701173' post='1975100'] And why did they have a 'unique level of access' to technology and 'studio usage'? Because very quickly they had proved to the 'powers that be' at Parlophone that they were worth the investment. Initially they were treated no differently to any other bands of the day. It wasn't until they started selling shed loads of records that all that changed - basically, they had [i]earned[/i] their right to more studio time - and that's how it works to this very day. Oh, and no one would be foolish enough to say that George Martin wasn't a major factor in their success. [/quote] In the first instance a good deal of luck and right place and right time about it, just like pretty much every other band that gets a really good break. After that they made the absolute most of their opportunity and ran with it. GM was hugely influential in their early efforts and at the same time they helped him get access to kit that previously was only available stateside (compressors for instance) at Abbey Road. It was a fascinating exchange of ideas though, but Hey Jude one of the best songs ever written? Not to me, I absolutely loath it with a vengeance, utter sentimental garbage in every imaginable way; thats not to say I dislike all their material, but I really do think that they are afforded more zealous adulation than the musical output alone deserves. But thats just my opinion.... As for having influenced everyone since, I dont think there is anyway to back up such an ascertion, it is pure fantasy to think so. There are certainly plenty of artists who haven't necessarily been particularly influenced by the Beatles directly, thats for sure, and plenty more whose main influence was to do anything they could to avoid sounding like The Beatles at all, if that is really an influence. Yet there are very few comparatively who claim that The Beatles make up their main and most enduring influence (Oasis being the most obvious stalwarts that come to mind as having preached from the roof tops). Personally, I, like many others, have never actively gone out of my way to listen to the Beatles, of course I've heard their music, and plenty of it (there are about 4 or 5 of their albums on the shelf), but never because I desperately wanted to, therefore I would consider myself not especially influenced by their work, or PMs efforts on the bass, as worthy as they are to so many. I'd rather listen to other musical waters, which in turn may or may not have been influenced by The Beatles directly, I couldn't hazard a guess. I do like Yellow Submarine (the film) though. By far the best thing they were ever in - oh, hang on a minute....

Right made a start tonight - my goodness the drum tracking is to cock isn't it! Really terrible effort there, the guy who mixed this for you deserves a bleedin' medal matey Still on the other hand the guitars and bass are pretty good, and the vocals aren't bad at all either, so its just down to how well I can rescue the drums.... As a pointed lesson to all here who want to record their bands, we've now had two sets of drum stems for two different songs, in completely different genres recorded by totally different people really badly. Lesson 1: New skins on the batter heads at least! Lesson 2: Get the drums sounding utterly awesome before you put a mic near them... Lesson 3: Get the mics in the the best possible place to capture the drums as perfectly as possible, if you are in the same room as the drums record a bit, listen back on really nice headphones, move the mic, rinse and repeat unti leach mic sounds great, and isnt out of phase with anything else on the kit Lesson 4: And this is the most important thing of all IMO for a good guerrilla recording of a drumkit. [b][i]No fx, no eq and absolutely no gates ever, ever ever, when tracking drums, [/i][/b]unless you are in a killer studio, with superb seperation, and great gear, and superb monitoring, [i]and tonnes of experience tracking drums[/i]. Because otherwise you absolutely will make things worse than they are, and far harder to mix.... Onwards and upwards eh

Cant stand PM (and he wrote such utter dross - IMO), Lennon was a bit of a w**ker apparently, but I prefer the songs he wrote, Ringo was largely confused by everything around him as far as I can tell, and my mother in law had a big crush on GH (enough said I think).... From the point of view of the pop song's evolution, the real innovation was the studio usage and technology they had an almost unique level of access to at the time, the songs were just songs. They were helped no end in the arrangements of those songs by GM, who can be considered to be in the same league as Quincy Jones when it comes to musical ability. Some of the songs were pretty good, some were tripe, some people like some, some people like others, some people are more influenced by some of the songs than others. They are a very large body of work though, and cover territory that is surprisingly wide, until you take into account the insanely fervent hot bed of innovation that the music industry was at that time, if you were really obsessed with music, then the influences they had on them were there for you to find to, assuming you had access to those influences at all, which wasn't very likely really. If your only means of deciding that something lives up to the hype is the number of units sold over time, then for you nothing could ever beat a Big Mac and Fries to go. Sorry if I have offended everyone....

Embrace the ambience, some of the biggest drums ever are hugely ambient. However you can also get into trouble with compression bring the ambience up too high, in this case an expander set to pull the ambience down before the compressor can help, by allowing you to use the compressor on the drum to gain oomph, and have the expander already diminished the ambient level that reaches the compressor, the result is a more powerful drum sound with the same amount of ambience as before... Bit of a tricky one to set up, sounds great when its working for you though.

Rather like this track:- [media]http://www.youtube.com/watch?v=ETBhPOVbbzE&feature=player_embedded[/media] Its rather understated in the main, which is kinda cool. He does get to give it the beans of course, but I like the main groove and idea...

[quote name='OldG' timestamp='1360657767' post='1973970'] No worries to me - I like the energy of your track. I'm struggling to get that sort of power into my attempt, without turning it into a mushy,garbled mess - How are you doing it? [/quote] 'Power' is gained from good transient control (and the control of the 30 to 80ms after the transient), great seperation and a deep understanding of what is providing energy in the low mids and when IME. It can be exaggerated greatly with parallel compression techniques (particularly on drums) and ducking techniques (kick and bass guitar, snare and guitars in a dense mix as well). In some genres you can increase the sense of power by getting some pumping going off the kick drum on a group (say of the rhythm guitars).

[quote name='OldG' timestamp='1360580853' post='1972513'] Powerful sounding mix there.. Are you slamming it with a limiter,by any chance? [/quote] [quote name='moonbass' timestamp='1360612651' post='1973462'] Yup, busted! Sorry, I'm aware it's not in the ethos of the mixing competition, but I was keen to try out a mix bus tutorial I'd seen on YouTube... And I was referencing with an Audioslave track! [/quote] Yeah this almost counts as disqualifying the mix IMO, thats how much you can gain from hitting the 2budss hard with limiting, it drastically changes the apparent volume of the track, which is very hard for people to take into account when judging between tracks. This is the mixing competition, by all means use some compression on the mix buss to glue it together, but slamming a limiter is definite no-no territory. How about you put up a mix without the heavy 2 buss processing and we vote on that, but leave this one availalbe so people can hear the difference, then explain exactly what the difference is in terms of precisely what you did, what you used and how you went about judging that it was 'right'?? I am so busy working on an upcoming gig that I still havent heard the stems yet (which is a definite worry at this point). WIll hopefully get an evening at it tonight )

I won't trust some dodgy cheap stand to hold up ky rig. The hop up I posted is rated to support 150kg which is overkill but better safe than sorry. It's about the same price as a gramma pad too...

Cheapest way to get your 4x10 up high on a stand that folds down and absolutely will cope with the weight of your rig is a square hopup like this:- You can find them here:- http://www.screwfix.com/p/square-hop-up-work-platform-aluminium/38093

Ooooh, now that 212 does sound interesting. The ae410 is my favourite cab ever to date, but I'd love it if it were a tad lighter, largely because I'm struggling with a dodgy wrist these days. And more whump is never to be ignored

It looks great, like the asides and useful extra bits of info for people who know what they are looking for (e.g. the part about the Stone Room being available as a reverb chamber via the patchbay). All good stuff!

I think it was in Game of Death ....

[quote name='EBS_freak' timestamp='1360144633' post='1965411'] on one foot. [/quote] The other one is still sore from kicking Bruce Lee in the face and breaking it.... Bruce Lee thought he was trying to tickle him at the time, didnt even flinch, knocked out Chuck 2 seconds later with hankie

Once found either a Behringer or PV (cant remember which for sure - the amp on top was the other one of those two - if you get my drift) 810 in a rehearsal room. I bought my rack and plugged it in to this thing and it was just shockingly poo, no definition, no bottom, no punch and pants all volume for a cab the size of an African dictatorship - not much fun!

Havent even had a listen to the stems yet - been super busy Lurks, you can do a good mix on headphones, but there are a load of gotchas to watch out for, the low end and high end can be difficult, and reverb times and delay feedback can be really hard to get right. Panning is hard to judge on cans too (tendency is to spread everything too little). But for really homing in on mid range eq and transient detail (so for shaping stuff around the vocal, and getting compresison and gates set up right) headphones can be excellent, far better than cheap monitors in a pants room...

[quote name='EBS_freak' timestamp='1360142471' post='1965342'] Have they got a van? [/quote] Yeah one of those m,assive Mercedes things, its very very splendid indeed. And yes they are all doing all right for themselves. They did a gig for the British Embassy in the Lebanon, flown out and back business class etc etc, the letter of thank you from the Embassy makes for a great testimonial on the band web page

Depends on whether or no tthey need the feature set. I know a band with a 20K rig and a Midas Pro 1. Just saying....

[quote name='EBS_freak' timestamp='1360045464' post='1963900'] Its still 2k no matter what it does! [/quote] Which is a very small amount of money given the feature set. Compare apples with apples and this is a steal.

33 stems is not that many chaps Get sections about right then render them and move on. Eventually all the groups are rendered and you can go back and tweak each group until it's right. Takes ages but it is possible...

Right, here we go, February's competition will be mixing Butlerk02's band's rather excellent track Mission Ray. I expect we will have a whole different set of issues with this one, but the approach and ground rules are the same, mix it to sound the best you can make it sound as a production, enjoy every minute of it and expect to disclose exactly how you made it work at the end of the month after the poll is done. Butlerk02 will stick the link to the stems in here as soon as he's sorted it out. Good luck to everyone! Here are the links to the final mixes for easy access:- 51m0n: [url="https://soundcloud.com/51m0n-1/mission-ray/s-xnnqG"]https://soundcloud.c...ion-ray/s-xnnqG[/url] Chrismanbass: [url="https://soundcloud.com/chris-hallam-1/mission-ray-final"]https://soundcloud.c...ssion-ray-final[/url] lurksalot: [url="https://soundcloud.com/lurksalot/mission-ray-v2"]https://soundcloud.c.../mission-ray-v2[/url] butlerk02: [url="https://soundcloud.com/butlerk02/mr-basschat"]https://soundcloud.c...k02/mr-basschat[/url] moonbass: [url="https://soundcloud.com/makossaband/mission-ray-4"]https://soundcloud.c...d/mission-ray-4[/url] OldG: [url="http://soundcloud.com/mickhastings/mission-ray-final"]http://soundcloud.co...ssion-ray-final[/url] VasDim: [media]http://dl.dropbox.com/u/70048273/Basschat.co.uk/Mission%20Ray%20-%20VasDim%60s%20Mix.mp3[/media] skol303: [url="https://soundcloud.com/skol-mixes/mission-ray-by-dientes"]https://soundcloud.c...-ray-by-dientes[/url] Remember this is about the mix not anything to do with mastering, so final level isirrelevant, its all about the sound of the production.

Carlsbro and Peavey here, god awful useless rotten garbage. Closely followed by the weak as a gnats p*** Hartke head and cab at Monster studios, yes its a decent step up from a Carlsbro but its not even remotely close to good enough for sensible rehearsals...

[quote name='charic' timestamp='1359566768' post='1956792'] Fair enough, the only other problem with protools is you can't use VSTs [/quote] Oh man I know, another reason why I hate ProTools so much

Ok. I tend to strap a copy of Voxengo's SPAN across the 2 buss and use that whenever I need more frequency spectrum info and am looking at a specific track or two and need that help (Reaper's eq has a similar interface though, in that it shows the output underneath the EQ curve on the graph which is very useful smetimes. I also found a couple of very neat oscilloscopes which can take multichannel inputs - awesome for setting up ducking compressors, or release times and pumping effects! Cant remember what they are called now, but if you do a search you'll find what I am talking about I'm sure.

Acoustics biting you on the arse? Only solution is to sort out the acoustics, any other solution provided in this thread is not really going to sort it out and leave the bass sound unscathed. You would do well to get some more (plenty more) absorption in the room. Basstraping too if you can find a way. However if you have parallel opposite walls and ceiling/floor, and the dimensions of the room are conducive to bass frequencies ringing longer than you would like then this is going to be an uphill battle. As you have already found out eqing doesnt solve the issue, because the physical space you are in is causing certain frequencies to ring too long (the energy in those frequencies is bouncing around for longer than you want). However as much as this can be (is normally, ie almost always and completely) caused by the room itself, it can also be exacerbated by the position of the sound source in the room. Try moving the amp around all over the place int he room and see if the issue lessens anywhere. Then try moving you around and see if you can find a place where the nulls and peaks and you and the amp can be so aligned as to give the impression that its all ok or at least significantly better. Give youself a few hours to try and figure this one out.