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BigRedX

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Everything posted by BigRedX

  1. BigRedX
    For the two bands I currently play in: I got into one through placing an ad on JMB. I was pretty specific about what I was looking for and my ad was answered by a band that exactly met those requirements. If you want to be bit broader in your musical approach then maybe place several ads each one tailor to a specific musical style? From the perspective of a band looking for a musician to complete a line-up it is my experience that musicians who claim to have a broad musical palette generally don't have a suitably in-depth understanding of specific genres unless they happen to be blues or dad-rock. For other band, I was a fan and was following them on Facebook, and so when they posted that they were looking for a replacement bassist, I sent them a message and the following weekend I had an audition. Before that it was answering ads in record shops, but then that was over 10 years ago!
  2. BigRedX
    But only if the music you want to play is written down.
  3. BigRedX
    IMO close mic'ing mostly defeats the object of mic'ing the cab in the first place; and if you are going to use a mic you need to make sure that you place it as far away from any cab ports as possible. Also unless your monitoring environment has been acoustically treated you won't be able to make any meaningful decisions about mic placement and EQ anyway. IME unless the band are playing live all together in the same room, you want to capture each instrument with as "pure" as sound as possible, so you are not then spending ages when mixing trying to EQ out poor decisions about the sound made at the tracking stage.
  4. BigRedX
    Thanks!
  5. BigRedX
    You'd get more useful and usable suggestions if you were able to give us more details about the space and it's location, neighbours and actual usage. "A Studio" even in the musical sense is pretty vague and can encompass lots of different things all of which will have different requirements and compromises.
  6. BigRedX
    Where did you get that flight case from?
  7. BigRedX
    Unless you have a good acoustic space in which to record you bass I would avoid using mics, and if you can't guarantee phase alignment of multiple signals go for a single DI. If you already have a DI sound that you like and that sits comfortably in the band mix as is that would be great, but otherwise I would go with DI'ing directly from the bass with as little processing as possible on the recorded sound. That way you don't end up with a baked-in tone that you are struggling to change as the mix progresses. Get a really good performance with full-range tone recorded and then tweak it in the mix to sit properly with the rest of the band instruments. I would also seriously consider booking some time at a decent studio to do the final mixing. You will be surprised how much quicker and better even a half-way decent engineer is at getting a good sound compared with the majority of home recordings. I have 40 experience of home recording, but I've sold up all my "studio" because I have come to the realisation that I will never be as good as anyone who can actually make a living at running a recording studio. Unless the band is after vastly different sounds on each song, once your mix engineer has got one track right the rest pretty much fall into place with just minor tweaks.
  8. BigRedX
    @TheGreek Do you have a space already set aside for this project? If so what size is it, where in the building is it located and who are your neighbours?
  9. BigRedX
    You should also post this in the "DIY Electronics & Studio Design" section of the SOS forums. However as has been said here already there is a difference between sound proofing and acoustic treatment. If you need to stop sounds getting out of the studio (as well as preventing unwanted external noises getting in) you need mass and isolation. This generally means building a room within the existing structure and physically isolating from the walls ceiling and floor as far as possible. You also need to seal all the air gaps but still have some way of ventilating the space. Generally it's a whole set of compromises. Start by telling us exactly what the studio is going to be used for. Recording? Rehearsing? Full bands with drum kits? Electronic sources only? How noisy is the outside environment around this studio building/space?
  10. BigRedX
    In that situation, so long as both your bases fit in the case it really doesn't matter which one you get. The cheapest will do the job just as well.
  11. BigRedX
    And that's the problem. It's a grind. And add to that, the fact that none of the music I play is actually written down and none of the bands I have ever played in over the past 45 years have used written musical notation to convey their ideas, the incentive for me to learn to read is minimal. There are so many other musical activities that I could more usefully be doing, that reading is far too low on the list.
  12. BigRedX
    I think that might be the biggest stumbling block for most people. I can read music in the same way as I can read a few foreign languages, with context and a dictionary I can work my through it. I know what all the notes are and the timing divisions and all the commonly used symbols, but expect me to be able to play faster than a bar a minute and its just not going to happen for anything other than the simplest of pieces.
  13. BigRedX
    Whichever EQ module in my Helix that gives the correct sound.
  14. BigRedX
    That is fantastic as usual.
  15. BigRedX
    Don't know where you got that from - according to Bruce Johnson's page on the Ampeg AEB-1 and AUB-1 there were over a thousand made. They are still pretty rare. The Bass Gallery had one of the Johnson copies in several years ago and very nice it was too. If I had been playing 4-sting basses I might well have bought it.
  16. BigRedX
    This. Are there any? I couldn't see them.
  17. BigRedX
    The Eastwood is a copy in the very loosest sense only. Essentially (like all Eastwood instruments) it's a parts bin bass with a body designed by someone who saw a blurry photograph of the Ampeg AEB once. Put the two side by side and you can easily see that they have nothing in common and it won't sound anything like the Ampeg either. The Bruce Johnson versions are far more authentic.
  18. BigRedX
    Does it have MIDI?
  19. BigRedX

    In Isolation On Tour

    BigRedX replied to BigRedX's topic in Gigs

    Brilliant. I would great if you could make it. Come and say "Hi" we'll have a range of merch available too including new T-shirts with the forthcoming album cover design.
  20. BigRedX
    No it's to do with the Trade Union rather than the Customs Union. If the UK leaves the EU it will become a separate trade market which means that suppliers that have a European distribution agreement with manufacturers will no longer be able to sell products to the UK that have a dedicated UK distributor for them.
  21. BigRedX
    Also bear in mind that locking off the vibrato system so that it can't move will change the sound of the guitar.
  22. BigRedX
    And if the UK leaves the EU, you won't be able to do that either.
  23. BigRedX
    Which will save you the tax on about £18.00 of the total value...
  24. BigRedX
    Split frets were used on the Vox Organ Guitar in the 1960s.
  25. BigRedX
    Actually there is a reduction in tension. The G string on a bass tends to have the second highest tension (after the D) and the B will have by far the lowest tension, so if you do need to make any truss rod adjustments you will need to slacken it off.
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