51m0n

I have a Zoom H4n, and its superb. For the money the mics are fine & the mic pres are pretty good, I can record with the two onboard mics, and two more mics at the same time - which trumps all the rest of the devices in an instant for me. Even just using the onboard mics the results can be staggeringly good. Highly recommended.

[quote name='TRBboy' timestamp='1349708697' post='1829399'] I would love to go to a decent bass bash, but this one is just too far away really. I guess you stand the most chance of it being accessibleto most people if it's somewhere like Bristol or Birmingham. [/quote] Yes, but that is too far from me, and wouldn't be an SE Bass Bash at all in that event.

Recording of last nights rehearsal. Top fun was had by all!

Coming on nicely!

[quote name='BigBeatNut' timestamp='1349612364' post='1828230'] Okay. I was going to draw an alternative diagram based on exactly that, then I thought that's not necessarily how it works, hence my first post. So you think an immediate jump to the new level after the attack period is the most likely way this is applied ? That sounds like it might be easier to implement electronically than what I was suggesting, a gradual increase in compression ratio over the duration of the attack period (as defined by the attack control on the compressor). I was beginning to think that. [i]Varies by manufacturer in other words.[/i] [/quote] Yes, and even more by implementation, so a vari-mu works with different curves, to a FET, and an opto, and a VCA. They all behave differently, which is why they are all still desirable, because certain opto comps, although the slowest reacting of all the devices mentioned, do what they do in a really musical and satisfying way, the 'signature' sound of these devices is inherently a nice thing . Of course at this point you are getting into compression for effect, and at that point you start trying to hear the compressor action a lot more. I love opto compressors for heavy compression, the way they 'bite' is a really pleasing sound. VCAs are the most versatile, FETs are super fast, Opto is really slow, squidgy and just yum (hey, to me!) and vari-mu is a bit like another opto type, but quicker. Kind of, but again there isnt one single way of wiring any of these up, and there are many differetn sounding vaari-mus, and optos and so on. How immediately the compressor kicks in is a big part of the sound of that compressor, its why different compressors sound different - that and the way they release. After all thats is all there is to differentiate two compressors with all the controls matched, how they apply and release the compression to the required ratio, whether they linearly do so, or with a curve, and how fast they can apply it. In a physical device there must be a period of time to apply that compression, but it may be so fast as to be effectively just 'on', or it may ramp up. Plenty of big studios have several 1176s and La2as, and they all sound different, even the same edition ones. They are hardware devices, and old at that, over time they drift from the "perfect spec", maintained or not, and that imparts further character, and good engineers work out which sounds best on what source.

Rather depends on the mechanics of the compressor in question. Thats a very simplified diagram to try and get the concept of attack time across. I wouldnt say its entirely accurate by any means... In reality it is highly likely that you would find the level is going to jump down so that the max level is the same, there is a peak of initial attack allowed through and then as the compressor 'hits' it drops the level down to where its ratio setting would put it. The curve that that describes is entirely down to the mechanics of the compressor, which is all about the circuitry or algorythms involved. With a hard knee compressor the compression is applied as fast as possible by the circuit, if you go over the threshold you are being compressed to the desired ratio. No circuit is perfect so there will be a discrepancy though as the gain reduction is applied. With a software compressor that isnt the case..... Maybe another diagram is required to show that???

Roooooooxxxxxxannnnneeeee.......

Don't worry about it then Bilbo, leave it to the sound geeks

Weekend before last noth memeber sof my band were incapacitated with what anyone in their right mind's would consider unavoidable/accidental painful nastiness of the hospital type. What can you do, life happens, we cancelled the planned rehearsal (will take the knock on the chin since we were too late not to) and we wil carry on this Sunday. Whats the big deal? I wont even let them cover the cost of last week without chipping in my part, after all in a couple of weeks time I may be in the same situation as them, and if I dont chip in now I cnat expect them to then, and its only a 3 piece! These idiots you've met are far too short sighted to get anywhere!

Best keyboard player I've ever worked with always brought along his B3 and Leslie, made a massive amount of utterly wonderful noise, never ever got in the way of the bass parts, even using both hands like a maniac. Or the guitar parts, he is a bit of a wizard I reckon.... Mainly because he was always playing the leslie speed knob as much as the keys, but also he was all about great big slabs of pad sounds intersperced with that very rhythmical percussive B3 thing. Thing is, he can play any instrument you ask (literal, we've tried it) - then again he either has a Masters or Doctorate in music (cant remember which), wrote the Northbrook college degree course, and just inherently 'gets' it. Always a huge pleasure playing with him. Actually, always a complete adventure playing with, utter legend! Worst keyboardist I ever played with insisted on hammering out (bad) boogiewoogie basslines as low as the keyboard would go with his left hand (regardless of the style of the song), whilst constantly turning up his monitor amp until you couldn't even hear the lead vocal over him out front. He didnt last long!

[quote name='LiamPodmore' timestamp='1348131209' post='1809613'] [i]I think there might a very useful blog post in here somewhere 5im0n, as it is definately something to look at when recording as well as in a live environment.[/i] Personally, i don't use one, though i did think that the built in one in the Line6 Lowdown series was damn good for a 1 knob compressor, too bad it was always kicking in when i was using that amp as it lacked what i needed so i had to crank it. Definately made a big difference when i was after a really punchy tone a few years ago though. Liam [/quote] Blog post now up http://blog.basschat.co.uk/setting-up-a-compressor/

I'v had an AF-9 for ages, and only recently have I got it really working right, its a very tricky customer to really nail the set up of IME. Largely because the sensitivity setting is utterly key, and its this sensitivity to input level that makes it such a great filter when you finally crack it IMO. Mind you I've never played an original Mutron III so I could be missign on some GAS here already, best bug out of this thread because that kind of GAS I really don't need in my life right now!

For many pedals and rack comps reviewed go [url="http://www.ovnilab.com/index.shtml"]here[/url]:- For a decent (if I do say so myself) description of compression and how to go about setting up a compressor for bass go [url="http://blog.basschat.co.uk/setting-up-a-compressor/"]here[/url] If I were to pick a coupl eof pedals I think are a cut above it would be the Markbass Compressore and the Joe Meek FloorQ. Can you do more with your compressor? Almost certainly, after all in recorded music the bass is one of the most likely to be compressed instruments in a mix. Should you do more with a compressor? If you know what you are doing - or are willing to learn - then probably IMO.... A compressor wont 'improve the highs' it will allow you to get a punchier more even sound, that will give you a better than fighting chance against the rest of a band in a mix (esp the kick drum, but in some cases guitars, keyboards etc). It will help even out the inhenrent changes in the envelope of your sound that the bass produces with different techniques.

Eeek! Exposure, help!

This is very odd, quite a first for me, I have caused two people to go out and buy fx pedals having heard and played them at the Bash. Weird!

[quote name='silverfoxnik' timestamp='1349346751' post='1824953'] +1 Fantastic piece of work Si.... [/quote] That is the idea chaps! Hopefully it will be noticed by people not only interested in the recrding side of things...

Nice! Whats with that weird spirally cymbal in the back of his kit (difficult to make it out really in those photos), never seen one like that before, what does it sound like?

This is what high pass filters were invented for.....

[quote name='ojplaysbass' timestamp='1328315049' post='1525586'] has anyone seen any video demos / sound samples of the sfx red dragon? it looks awesome [/quote] Had a play with one at the SE Bass Bash - it goes from "no gain, very clean", up to "starting to rock out" very smoothly indeed - there is definitely a point in that transsition which would give you just the bite you need and no more, am now GASing for one myself

Well I wouldnt want to work with them if thats their attitude - and major congrats to you all!

oops....

[quote name='urb' timestamp='1349271183' post='1824057'] Hey Si - great to see you the other day, albeit far too briefly - I just bough a Maxon - AF-9 - well ordered it... f-ing love that pedal so thanks for helping me find an envelope filter that works! M [/quote] Hey No worries matey! Sorry for adding GAS If you find it as much of a tortuous route as I did to get a nice starting point to work from then ping me and I'll send you a photo of the settings I've got.... Si

You clearly haven't tried reading it yet

Should be fixed now...