51m0n

[quote name='BigRedX' timestamp='1344066409' post='1759253'] I'm unconvinced by the appropriateness of using a coloured-sounding DI for recording. Ideally the sound of the rig is the correct one for the recording in which case the right mic appropriately placed will do the job. Otherwise get a clean feed directly off the bass and either re-amp later in the session when the final sound of the track is coming together, or use an amp and speaker sim in the DAW. [/quote] Ah, this is a, possibly 'the' biggest philosophical debate in recording. Do you record the sounds you want in the mix, or do you record the source from which to make the sound in the mix. A really really good coloured DI or mic pre sounds different from (and that can mean better or not) than an amp sim, more importantly it may make the player feel the instrumetn differently (in some cases better) than a clean DI. A real master at tracking is always looking to the mix, a lot of less able recordists, with less of an ear for the mix, or in a situation inappropriate to attempting to capture the mix to tape will be forced to use less colour, less final sounds when tracking. If I'm mixing a project for someone, and need more tracks from them recorded in a less controlled fashion, I always ask for no eq, no fx. If I'm tracking in an environment I know and trust, I get the final sound at source, which means I use the plyer, instrument, amp, pre, Di, whatever to get the sound right before it hits the AD converter. Because I know what I'm shooting for, and I'm in that place where I'm recording the mix a piece at a time. The less I have to do in a mix the better! I very rarely track, more often then not I'm mixing stuff that has been tracked pretty well, but is often flawed ffrom the mix perspective. Then I get out all the tools and fix it as best I can in the box. The point is that if you are in a position to be able to tell what is right from what is not, the most appropriate solution is always the one that sounds best.

Crikey! Heavy heavy duty old bean.....

He does rather miss out the oppurtunity to blend DI and mic, and the need therefore to get the mic signal in phase with the DI too. A 57 can be great if mixed with a DI. Lots of mics that dont go super deep are good for this. If I want to rely on the mic alone then an RE20 is pretty ace, as is a PR40 IME. If you want a mic to do both vocals and bass the Heil PR40 is pretty darned good as it goes.... As Rimskidog says if you look for it there are some very interesting coloured DIs about these days too. Or you can colour the signal in the mic-pre that you plug the DI into (even more options for coloured pres!)

SE make good mics, the SM7B is a very well thought after mic, the Heil PR30 is superb, the PR-40 is majestic, but expensive, if you want something to tame a shrill voice a Cascade Fathead II ribobn (with the Lundahl tranny if you can stretch to it) is superb. The Sennheiser E845 can be very good on vocals too.

Dun da Dun da DUNDUN Dun da Dun da DUNDUN Dun da Dun da DUNDUN...... Proper Mission Impossible effort there!

You can still buy Joe Meek compressors over here, and they are optical ( and loved - by me).

Looking great mate! Inching closer, slow and steady wins the race....

Errrr no. That would be nonsense...

ALways with the critical thinking, "Stop hitting me with those negativue waves Moriarty!" http://www.youtube.com/watch?v=KuStsFW4EmQ The floor looks swish!

True, but, if he gets into it, it will be a short time before he wants to expand, if nothing else to better capture rehearsals. I've guerilla recorded bands with 4 tracks in the inital tracking phase and got great results at mnixdown (lots of overdubbing required obviously), its certainly possible, but there is a lot to be said for an easy upgrade path. And this device is well behind the curve when you get to mixing.

And bass doesnt necessarily sound better DI'ed....

Zoom R24 is a cool tool, does let you import your tracking into the PC (a USB memory card widget costs a couple of quid and the transfer times are as fast as USB - ie fast enough!) where you can then use Reaper to create a submix to put back on the R24 effectively giving you unlimited tracks off that interface. Still only 8 ins a t a time though, which if you are seriosly into tracking is a major limitation (That wont even cover a serious drumkit after all). You can hook up two of them to get 16 tracks input at a time - but you may as well look at a serious interface for the money you end up spending IMO. And mixing on a good DAW definitely gives you more options than one of these devices (a lot more options!). Great kit though....

[quote name='silddx' timestamp='1343308848' post='1748675'] You wouldn't believe how many people want to talk about the gloves rather the the bass or the grooves mate [/quote] They are handy if you need to wash up all of a sudden aren't they!

Should get the individual tracks over this weekend (getting them off the H24s is a slow and boring prcess involving ftp - ) Then the real fun (for me) starts, as I turn them into finished pieces. Can't wait!

Reaper is not at all hard to use, has a downloadable VERY comprehensive manual. In some ways it does stuff that make it very very easy to use (tracks are tracks are tracks, no real diff for midi v audio, or groups/folders v tracks). Reaper has an excellent very very active forum - which the developers regularly answer issues on in person. There are various sets of videos you can buy to get you up into the really complex end of things if you cant figure it out for yourself, and a fair few free vids going into similar areas. I doubt you'd have any problems if you give yourself a few hours with the software and manual to get going. I dont think any fully featured DAW can be learnt to any real degree fo proficiency without the odd dip into a manual or onto a forum. The in built Repaer fx are superb too, plus one license allows you to have any and all versions of the software at the same time (as long as you only uise one at a time) in other words, Mac, PC, 32 and 64 bit solution simultaneously - v cool if you have a desktop and a lappie and occasionally want to do some audio stuff away from the desktop.

They both slap, its just LG is unfathomably funky, whereas LJ overblows it a tad and although very impressive (especially at the time) is just not as greasy fried chicken/illicit nookie in the back seat funky as LG - IMO.... http://www.youtube.com/watch?v=fxKBnR_8LIM vs http://www.youtube.com/watch?v=WuDYiWuZSFw

Thats pretty impressive that is!

Nah Nige, nobody can see you, you're like a ninja... All they see is a massive big shiny thing floating in the corner on its own - its almost like a low budget paranormal experience

6 months? Pah, thats nothing, I went the better part of 5 years between gigs. Didnt get rid of my gear and when a call came out of the blue I managed to just about remember which end to blow through in time. Dont bin the kit IMO....

I think they look bloody brilliant to be perfectly honest. I'd love to hear the stacked 112s, any chance of you getting to the SE Bass Bash with some???

I tell you what, you can polish it, you can sprinkle it with glitter, but the minute you sink your teeth into it, you are going to know the truth So polish away.....

[quote name='discreet' timestamp='1343237257' post='1747596'] There's a whole Little Roy album, 'Battle for Seattle'. [/quote] There is, and its pretty darn fab IMO, never liked Nirvana much, but really like the Little Roy covers....

Dub Nirvana.... http://www.youtube.com/watch?v=I1aEo4SkOWg By far the best version of this song, including the original IMO!