Bigwan

[quote name='Sibob' timestamp='1501758131' post='3347143'] Really like my Guma Antique, sounds great. I'm imagining the Guma Drive has a bit more top-end content, which might be helpful in some instances. [/quote] Bang on. More top end control with the switches on the Guma, more mid range control with the Era control on the Antique. I haven't stacked them... yet.

I did something similar a few years back with a guitarist/singer friend of mine. It was easy with just the 2 of us. We just emailed mp3 files of each other's dry tracks back and forth. Converted to WAV and dragged into reaper. It was just a writing effort, not a finished product so quality wasn't the primary concern really...

Different enough. I've built both and prefer the Antique by quite some margin, especially as an always on sound. As an additional layer of drive the Guma works well (hence why I sold my B3K and why I built a Guma - I could justify the price of it for how much I would use it, a B3K not so much!). What I haven't tried yet is stacking the Antique in front of my recently acquired Darkglass Vintage Ultra, using the Antique as another level and perhaps the Guma as a different flavour. How I integrate the greatest of all my DIY drives (modded BJFE Blueberry) is yet to be seen... Could get messy... Finished my Pumpernickel compressor yesterday (hooray!) then forgot to bring it home from work to try (boo!)...

I just discovered the spitfire labs stuff (and the William Morris demos) yesterday by chance. Some beautiful sounds! No doubt I'll be purchasing a few of them. Scary strings, plucked grand, kalimba and mini harp for starters...

A great place and Paul is a real gent. Some cracking gear.

[quote name='Musicman20' timestamp='1501594381' post='3345743'] Thanks all. He is very keen on a compact well engineered 2x10 and wants to try a Barefaced Retro 2x10. Amp wise, we are still looking, but I think 400-500W at 4 ohms minimum. [/quote] I briefly owned the Darkglass M900 and used it with my Barefaced 2x10. Very nice little rig...

Darkglass M900 for the head. Should be able to pick up a good used cab (or 2!) with the rest...

The Audient has an ADAT in so you have, in theory, enough inputs already (10 in, 4 out on that interface I think). Just need to find an appropriate mixer/set of preamps with an ADAT output... There's where I draw a blank... Edit: Damn, beaten to it! A cursory search would lead me to believe that if the Behringer ADAT pre doesn't float your boat you may be cheaper buying a new interface as after that it gets pretty expensive...

[quote name='Bigwan' timestamp='1500547301' post='3338590'] I think in the meantime I'll carry on using garageband on Mac and ipad (bought a new 2017 ipad this week couldn't refuse a 20% off offer). [/quote] Yeah... so that didn't last long... Just bought Komplete 10 off evilbay. Transfer completed on NI site. Just the download and install grind now. Sometimes I despair at myself...

LB30/CTM30 are certainly not loud enough for an animal drummer unless you have a supremely efficient or VERY large cab (might work with an 8x10 or 2x15 i suppose)... But what a tone! The LB30/LB212 is probably the rig I've enjoyed the most out of everything I've owned in the past. I had an Orange Terror and Tech Soundsystems 4x12 as my gigging rig at the same time and it was vaguely similar tonally (not as flexible as the LB30), but painfully loud...

[quote name='DIYjapan' timestamp='1501139227' post='3342710'] Is hot glue a feasible way of fastening the carpet felt? [/quote] I wouldn't have thought that was practical for a large surface area like a cab. I'd go with a roll on or spray adhesive.

I'm pretty sure what you're looking for doesn't exist in the form you want. All audio interfaces are are essentially ADC and DAC in a fancy box. Focusrite seem good, but there are plenty of other makers. With this setup your "amp" controls will be in software, adjustable on screen of your PC - not physically unless you have some way of mapping the controls to an external control surface. Do you own an ipad by any chance? I've just bought one and am using BIAS amp, Jamup and Garageband and the sounds available are VERY good indeed. Add a set of active monitors and you'd be set.

[quote name='lurkingbass' timestamp='1500986725' post='3341488'] Since there are stereo bass combos out there, such as that Ashdown mentioned above, there has to be stereo bass amp only, to which I could connect speakers. [/quote] You've already heard from 2 of the more knowledgeable members here. The reason you can't find anything on the internet is because stereo bass amps are as rare as hens teeth - Markbass Multiamp is one, but can't imagine you'd use it for what you're describing... To add my tuppence worth I'd go with active studio monitors. I had a set of samson rubicon 6a monitors a few years back and they sounded excellent for music and bass (especially with some sort of amp modelling in the signal path)

The Guma and Antique are excellent kits. I'm almost finished the Pumpernickel compressor. It's slightly more awkward, but still good.

I went the other way, amp to pedal (Vintage Ultra) mostly because my ears are shagged and I'm going in-ears to protect what hearing I have left! It's a close call, but if somebody held a gun to my head, tonally I'd say I prefer the amp by a hair. The tone control in the microtubes section is the secret sauce of the amp and you can't quite replicate its effect on the pedal. Having said that I'm EXTREMELY happy with the Vintage Ultra and since you're happy with the volume of the Ashdown I'd stick with it.

[quote name='BigRedX' timestamp='1500544131' post='3338557'] If it's for you own amusement then I'd look at getting a better keyboard than your current Akai and its mini keys. Alternatively get a bigger or second monitor (your Mac will support 2), especially if you are considering moving to Logic, where you almost never have too much screen real-estate - I currently run 3 x 23" monitors and even then I could sometimes do with more space! For doing anything more, here is a cautionary tale... I've always been a home recordist. My first band in the late 70s was a recording project only. A band that had to borrow its bass guitar and had only one (10 Watt) amp and no drum kit, there was no way that we could gig, but we could fake the lack of conventional instruments on tape, so we stuck to experimenting with recording at home and got pretty good at it. Come the 80s and I joined a synth band and we had 4 track cassette recorder fed from an HH 12:2 mixing desk and a handful of guitar effects pedals. We made some fairly decent recordings with this set up, but I couldn't help but think that the need for over-dubbing to get all the instruments and vocals recorded with only 4 tracks was holding us back in terms of sound quality and production. Something that was seemingly confirmed when we booked a proper studio with racks of outboard gear to make our last recording. Then in 1990 two things happened. I inherited enough money for me to go out a buy pretty much all the gear I needed for a decent home studio set up. An 8-track cassette based recorder, 12:8:2 mixing desk, a decent sampler and synth and some outboard. At the same time I bought a house that had a suitable room for a dedicated home studio. After that I pretty much spent all my disposable income for the next decade on the studio. Over the decade I must have spent at least £30k on the room and equipment to go in it. By the end I had moved over to a Mac-based recording system with a MotU interface, 40 channel digital desk, huge Tannoy monitors, racks of onboard gear and synths. The quality of my recordings definitely improved, but no matter what I did and how much money I spent on new gear, they never really came close to sounding as good as those by my favourite bands. Also everything took much longer when time was no longer a constraint. Over the decade with various line-ups of my band I produced 3 demos, a 3-track self released CD EP, and was half way through recording a full-length album when the band split. Not a brilliant work-rate when you consider than my first band completed 5 albums worth of material in under 4 years. When I joined The Terrortones, recording at home was out of the question, because I had neither the Mics or the sound proofing to record acoustic drums, so we used a series of local studios to record our initial demos and then our debut single. One thing that struck me straight away was how quickly the engineer in each studio was able to get a great sounding track together, sometimes with significantly less equipment than I had at home. It was at that point I realised that the limiting factor in my studio wasn't the gear, but was me. I had reached the point where no matter how much more time I spent working on a track or what hot new piece of kit I went ought and bought, my recordings were never going to sound very much better. In retrospect, the band I was in during the 90s would have been much better served if I had saved up the money and spent it on a month in a good studio with a reasonably well-known producer overseeing it all (easily achievable within a £30k budget). At the end of it, if nothing else, we would have had a great sounding album with a name producer attached to it, instead of a handful of good sounding "demos" and the rest of the tracks in various states on unfinishedness. To the OP I'm not saying that you won't end up being a great recording engineer/producer, but the chances are you'll never be capable of achieving the results you hear on your favourite recordings. With what you currently have in your home studio you have the potential to produce results that are technically far in excess of what was possible when some of the greatest recordings in the history of rock music were made. It is my experience that a good engineer is far more important than the gear. Over the last 5 years I've sold nearly all my studio gear. I've down-sized to a Mac Pro a basic Focusrite interface and a hifi amp and speakers. I'm getting back into synth-based music so at some point I'll be buying a decent keyboard. I think I'm pretty good at writing and arranging music, but if I end up making music at home that I think is worth releasing to the public I'll be taking it to a proper studio for mixing. I hope that helps and is not too discouraging. [/quote] Not discouraging at all! Totally what I was thinking myself - don't think I've ever been in more agreement with anything you've said on here! I think in the meantime I'll carry on using garageband on Mac and ipad (bought a new 2017 ipad this week couldn't refuse a 20% off offer). The ipad in conjunction with the mac will be very handy for playing garageband osx touch instruments, as a simple control surface, maybe as a little extra screen real estate via USB. Will probably get bias amp on there too. And I can control my behringer mixer from it so a useful addition.

Yes, but not intentionally, and possibly not to the extent Joe Hubbard is talking about! I expect he means flattened VERY close to the fingerboard, which might work just fine if the frets are well seated... The bass I had with flat frets had SHOCKINGLY bad intonation as the witness point (think that's the right term) was effectively on the edge of the fret instead of the center...