51m0n

Markbass cabs are marmite - some people love them (Lozz does a lot) some people really don't. I think they are OK, but last time I looked at the prices I thought they were a tad expensive for what they do myself....

Nothing wrong with lots of tone shaping options, the older larger MB heads had a lot of tone shaping options (4 band semi paramteric eq plus two filters and a tube compressor all in one box for instance), thing is if you get the right cabs you dont need as much eq in the amp IME...

I like the idea of that a lot!

So similar priced to a new Bergantino cab then, if you can get them (hint the only importer is [url="http://www.bassdirect.co.uk/bass_guitar_specialists/Berg_HD_112_210_410_212.html"]bassdirect[/url]) Either way these cabs will do the job for you.

How many tracks do you have to choose from butlerk02?? If you have more than one, then maybe the winner this month could have the choice of which of yours to have a go at? That way there is some continuity? Just a thought....

Save your money and your back. Dont bother getting a 115 and a 410. There are many solutions now that will blow your head clean off with a 500w markbass head. You would do well to go for a high quality 212, like a Barefaced Super12T or a Berg HD212 or various others that people on hear have tried and can attest to the quality of. The Barefaced 212T keeps up with my Berg ae410 (which is a very high quality 410) in terms of grunt and tone. Highly recommended and it weighs less than a sparrow's fart.....

[quote name='Skol303' timestamp='1358206871' post='1935042'] Nice one! PS: might be an idea to list all the SoundCloud links separately beneath the poll (like Charic does with the monthly composition challanges), just so they're convenient to click on. [/quote] Smarty pants

Please have a listen to the efforts of your forum mates in mixing RedStriper's band's track for the January Mix competition. I know a lot of you don't go near the Recording section much, but anyone bothering to listen and make a choice will be considered very very splendid indeed [url="http://basschat.co.uk/topic/192016-mixing-competitionlearning-resource-january-poll-added/"]Poll can be found here[/url]

Right I'll take that as a yes then - poll now up! Good luck to you all

Ok one last sanity check then I have the following entries:- redstriper http://soundcloud.com/tacsiband/no-2nd-chance 51m0n https://soundcloud.com/51m0n-1/no-2nd-chance/s-6Tbvx OldG https://soundcloud.com/lucy-hastings/bc-mix-final RockfordStone https://soundcloud.com/robslusarmusic/no-2nd-chance Skol303 http://soundcloud.com/skol-mixes/second-chance-by-tacsi butlerk02 https://soundcloud.com/butlerk02/2nd-chance lurksalot https://soundcloud.com/lurksalot/no-second-chance-again charic https://soundcloud.com/thebrokensky/no-second-chance-bc-mix-comp Did I miss anyone???

OK, so listening to this its not nearly as hard to let flow over me than maybe Nigel's comments would have had me believe. Reminds me a little of the Flecktones older stuff in a couple of places (a bit, bear with me here ) Not too shabby and far more groove going on than I was expecting. Yes there is masses of soloing and what have you, but its only made me go cross eyed once or wice, maybe experimentations in dissonance a step to far for my gentle brain to cope with, but I'm sure I'll get over it Thanks again...

Ohhh yeah baby, grooving my fat butt off. Ta muchly!

I'm downloading Doddy's recommended ones. To be honest there is no way I'd go out and buy one of his albums right now - I've only heard tiny bits of his stuff and nothing really got me excited. However, if he's willing to give it away, then I will listen to it, and if I like it I may well get into it and buy something later or go and see his band. Without this possibility of hearing his stuff I just wouldn't. So from that perspective he is doign a good thing for his chances of repeat business as it were. Its not like he is going to get much in the way of radio play after all!

Hey it was [url="http://basschat.co.uk/user/969-butlerk02/"]butlerk02[/url]'s idea, I've just got a big mouth

Corr, cheers for this, will enjoy it a lot! I know there's been a bunch of contention regarding some of CK's claims, but hot damn can she play bass!

Yeah. Its a point worth noting that that MXR comrpessor's lowest ratio of 4:1 is (IMO only) quite high for really transparent compression from a pedal. I routinely run between 3 and 6dB of compression but at a ratio of less than 2:1, by setting a lower Threshold, I find this makes for a very nice balance of dynamics and a tad of always on compression keeping everything sounding really fab in the mix. Not trying to reignite the GAS at all, but I've always thought of the MXR as a more effect type compressor (going from the specs, higher lowest ratio, super fast attack times) rather than an always on type of deal.

OK heads up all of you who are interested, this evening I will generate the Poll in the first post in the thread. I will go through this thread, and find all the various links (that work) and put it all together in the poll. If there are any out of date mixes you dont want included then break the link, or if anyone is desperate to get another mix in then please do so asap. Ta

If you dont need ocmpression on your rig you dont need compression on your rig, unless you want to have it on sometimes in a more overt and 'affected' way (think Tony Levin's line on Sledgehammer). That guide should give someone th eknowledge required to generate a really in yer face compressed tone too. Of course, if you have no place for that either then thats cool too. The meters are beyond invaluable, compression is super super hard to hear - pretty much every contempory recorded bass part over the last 20 or 30 years has compression on it, its what people are actually used to hearing, but it doesnt always stand out like the Sledgehammer line, because set up differently you can't hear the compression, instead you just hear the bass part all the time. Any pedal without useful meters on it gets labelled as subtle unless you over use it, and there is no way of telling how hard it can squash your signal either. Fact is it may just not do much compression, or it may do plenty and be really transparent - outsode of a mix unless you really know what you are doing you probably wont be able to tell the difference IME...

Glad it helped

[quote name='dincz' timestamp='1358018140' post='1932003'] Depends whether you're looking for compression or limiting. A limiter will not affect your sound below a certain threshold level but will prevent it from getting any louder than that threshold. A compressor will squash dynamic range over a range of levels. A compressor with a good range of controls (especially threshold and ratio) will allow you to achieve either. [/quote] Strictly speaking, neither a compressor nor a limiter will affect your sound below the level of the threshold. And both will affect any sound over that level. If you set the threshold level low both will affect a large part of the signal. The difference is that a compressor tends to have a lower ratio than a limiter (which has as high a ratio as possible - at least 10:1, often more like 20:1 or even greater), furthermore a limiter tends to test the level that instant, whilst most compressors tend to measure level over a short period of time taking an average of level over that period so as to be more subtle. Final point comrpessors can be hard or soft kneed. [url="http://blog.basschat...p-a-compressor/"]Read the blog here for more detail[/url]

Dont make it a 5 track EP, just make it "lets see if we can record a bass part" to begin with. Start with your first idea Play to click in a DAW, because you will rely on the DAW for time keeping any vsti's Build it an instrument/idea at a time, if it goes of on a different angle pursue it until you think its no good then go back, before you know it you will be there. It will be a very steep learning curve, so dont put a time frame on it so much. Its possible to programm human sounding drums with a mouse, but it takes ages....

[quote name='JTUK' timestamp='1357919704' post='1930650'] If it sounds great, then the science is out of the window...and I don't know any proper player who would say otherwise. [/quote] Heh heh, if it sounds great and you've mixed all sorts of stuff up and its turned out brilliant, then you really need to get a lottery ticket that week

It depends where you're standing.... And (IMO more importantly) the state of the space you are in acoustically. By which I mean, in a great acoustic space it will be far far more obvious that there is a dispersion issue at all. In a very poor acoustic space its not (just) the issue with dispersion thats ruining the sound for you, its the scpace you are in. However, the end result for a punter is only as good as the weakest link in the chain (unless by some miraculous happy occurance all the bad things add up to a decent sound right where they are standing - although their mate standing next to them thinks the sound guy is deaf). If you are using backline for stage monitoring purposes only then the issue is pretty moot FOH and it is only really affecting the other musicians ability to hear you more than anything else. If the FOH has a pair of big stacks, one either side of the stage, then you have a completely different world of hurt regarding potential oddities and so on as you move around within the audience area, further compounded by the acoustic space. Bill Fitzmaurice recommends subs paired/ganged together in stage center, I cant remember ever seeing it done this way in practice for a live band, but it definitely gives you up to 6dB of extra oomph (with his subs) per pair, and removes/mitigates issues with the cancellayions you get from seperating the subs in the first place. Its a different topic again but definitely has an affect on the outcome of the sound at a gig. How much you can notice the dispersion issues depends on a lot of other stuff too basically. But if you want to maximise dispersion of your rig, make it one with all the cones in a vertical line.

Its almost like Bob thought this stuff through The reason to suggest K-Metering as a meter was that inexperience amongst us would be very unliket to get an over on their render that would ruin it. And the fact that K-Meters are supposed to have very precise ballistics so people (I would hope) would tend to get very similar results with them...

I think its fair to say that any company that has specifically designed or tested and approved mixed speaker sizes of their products together (and we have a Berg HT115 + HT210 stack in the house which sounds unbelievablely good). Where people are led astray is matching unsuitable cabs together (115 and a 410 are hideously mismatched in virtually every case I've ever seen - simply in power handling alone). Also people make assumptions that the diameter of the driver in a cab defines the role that cab should play in the sound of a rig (how many 115 for more bottom end grunt paired with a 410 adverts or advice snippets have there been now?). Going back to the HT210 and HT115 I have access to at home, the 210 goes deeper than the 115, the 115 has really great mids, the two together work very nicely, and thats because of the similar capabilities of 2 10" cones vs 1 15" cone. But then the configuration was planned to work well by the designer of the entire system, which isnt always the case, and certainly isnt if you start mixing manufacturers gear. And the simplest rule of thumb that if you want more of something get another one of the same does always bear out.