51m0n

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.

I dont really get plug in GAS..... I dont buy plug ins at all though, I've found nothing thats on sale that I cant do something simialr with with the stuff I've legitamtely got for free, so why waste my money (especially for shiny graphics, no one listens to an album and sees the plug ins, they hear the efffect they have, so thats what I always have to remind myself to concentrate on - so easy to be seduced by fancy GUIs). Given that digital equalisation works on the same principles regardless of the vst, what is it about those two waves EQs that gets you so excited Charic?

Top work chap! I used to use stereo wideners quite a lot (I did for som eof the backiung on Kits stuff, because so much is going on). I find it works really well on seperate components (ie a BV group) of the the mix, but if you apply it to the whole mixit sort of cancels itself out, it still works, but not as mucxh as if one or two parts of the mix step super wide. And it tends to not collapse to mono so well - not that that ever worried Bruce Swedien, and if he didnt care why should I Love the way these software plugins call themselves things like a FET compressor, there isnt a FET in there anywhere, and I bet it doesnt actually behave like a FET (does it raise the noise floor significantly for instance?) - it will be a fast attack compressor, with a very short RMS time on the sidechain 'circuit' (sub 1ms or even just peak), and will be supposed to feel like an 1176 a bit. I suppose they are trying to get people to understand what they are after, but I've come to prefer names like The Glue, and Thrillseeker LA, they dont realy tell you what is supposedly emulated, but they give you a clue as to what the intended use might be. Weird about the eq on the 2buss, and then to reverse it on the rendered file. Never tried that, but a lot of eqs have slightly diferent curves on a reduction as opposed to an increase (in the analog domain anyway). Theoretically the sake digital eq applied at the same frquency with the same Q to add a reduction of n dB of gain and then applied again with an addition of n dB of gain should null with the file with no eq applied, however its possible rounding errors may get in there somewhere, although I doubt you'd hear the difference. If I get the time I may try that - interesting... I really thought youd re-amped the keys, was it 'quite a lot' of tape saturation going on?? Ta for all the details!!

Nah, sorry yes the gear we use can only make the input signal we put into it sound louder, but it can also degrade that signal immeasurably. Tell you what, you give me your Roscoe, etc etc and pick up one of those cheap as chips starter packs from Tescoe that are your favourites and see what that does for your tone matey Personally my ability to produce the sounds I want to has been a far shorter road than most peoples on here, mainly because when I decided to get back into playing bass my mindset was very much "no compromise" on kit quality, I got the sa450 first, massive improvement over the old amp I had, then the ae410, total and utter revelation, and finally my Roscoe, and that took a few months to really start to get my head round (being a 35" 5 string) but timbrally it was all there the minute I plugged it in. Still makes me grin like berk every time I play through the whole rig.

ae410 Cos its the business

Why did he join [i]your[/i] band again?