Skinnyman

[quote name='MoonBassAlpha' timestamp='1492274045' post='3279158'] Do you not use your R24 as a control surface? If you have and don't rate it, I'd be interested to know, as I may be doing that soon. [/quote] I do and it's fine as a basic control interface but youre a bit limited in what you can control, hence I want to add something with more functionality.... But the zoom works fine as an audio interface and as a (basic) control surface

I'm thinking of adding a control surface to my recording setup (Mac with Logic Pro X) and I've narrowed the choice down to the latest Mackie MCU or the relatively new Icon Qcon pro x. Both seem to do what I want. The mackie has been around for a while now and seems to be Logic-ready right out the box but I hear disappointing things about their customer support. The icon has a quick-start setup for logic but seems to be geared for Cubase out the box but is about 25% cheaper. At the moment, I'm leaning to the mackie but it's right at the top of my price range so I'm interested in experiences/comparisons with the icon. So, has anyone used either or both of these and which would you go for?

I've had one for a while and love it. Before I started using a DAW, this was my only way of recording and - once I'd got the hang of the sequencer - found i could get a decent workflow going with it. I've since moved to Sonar (and since then to Logic) but I still use the Zoom to record live (well, rehearsals mainly). I pre-mix the drum mikes into a stereo pair and then feed that plus mics and the DI from guitars and bass direct into the Zoom. We've done some pretty good recordings that way which I've then mixed in Logic (we also use it to create dedicated backing tracks for each band member to practise with at home - one for me without the bass, one for the drummer with just the click, etc) So, to the original question - I use it as a mobile recorder but do all my mixing and eq in the DAW.

Blimey. I've made the top ten. That's a first

[b]Attendance list[/b][list] [*][b]TheGreek[/b] [*][b]Bassface 2k10[/b] [*][b]Lozz196[/b] [*][b]Sibob[/b] [*][b]NickD[/b] [*][b]Truckstop[/b] [*][b]Gary mac[/b] [*][b]Andyjr1515[/b] [*][b]Ordep[/b] [*][b]Skinnyman[/b] [/list]

He had a pair of Kemper modelling amps. One White, one black, otherwise identical.

I just got back from seeing them at Hammersmith. A superb show. The mix was a bit muddy in the first half but came alive in the second set - or I might have got used to it. Anyway, I thoroughly enjoyed it. Jon Anderson's voice is still going strong. Rabin is no Steve Howe but he's good at what he does. Better than me, anyway! What I find odd is that no-one has commented on Lee Pomeroy's basses....unless it's covered in a topic all it's own, in which case, forgive me for mentioning it here.... Two lovely Ricks, one tuned to D G C F, both left-hookers and both strung "the wrong way" as in the low E being at the bottom of the bass and the G at the top. In other words, a left handed bass strung for a right handed player, played by a left hander. I felt slightly dizzy just watching him. He came for a chat after the sound check as I was checking out his basses and seems like a really nice guy. He did a pretty good job too, even if he was mixed fairly well back (at least, he was from my seat in the second row, extreme right). I've seen Yes a good few times over the years and saw them doing Fragile and Drama last year. While that was a pretty good show (with Billy Sherwood doing a damn good job of standing in for the late Chris Squire), they came across as a bit of a tribute band. ARW were more like the real thing. It's not Yes without Anderson and Wakeman - but it seems that it's not Yes without Howe either. Still, a very good night and I thoroughly enjoyed it. Even with the upside down, back to front, inside out, weird bass stringing that makes my head hurt when I think about it 😀

I love this site

Bought Herman's Juno synth from him. Easy communication throughout, he drove some distance to meet me and the synth is in superb Nick, just as advertised. An easy, simple transaction with a thoroughly decent, pleasant and reliable chap. Basschat at its very best, deal with confidence

Wow. Looks like I was lucky just to have a sticky neck!

[quote name='markstuk' timestamp='1482964129' post='3203846'] Which means that they're not consistent with the formula or application of the neck finish.... :-) [/quote] You make a fair point :-) The finish on mine was certainly consistent. Consistently cr@p 😀

[quote name='markstuk' timestamp='1482963511' post='3203837'] This sort of QC put me right off ricks decades ago.. unlike some of folks who complain I actually struggled with a 4001 for over a year :-) [/quote] I'm not sure it's solely a QC thing, I get the impression that it's down to the finish they use (cellulose? Poly?). I'd heard that they need to be left out to "breathe" but that had no effect on mine - hence the attack with the scourer. I know that Ricks can be a bit of a marmite bass - and they're probably seen as terribly passé these days, but I got a good one (paint finish not withstanding) and although I may have shagged the resale value, at least I have a bass I can now play for a whole gig. And in combination with that Ampeg.....wow. Just, like, wow

Some years ago I bought my dream bass - a fireglo Ricky 4003. OK, not to everyone's taste but I've lusted after one for a long time... Fantastic bass, just "fits" nicely and a tone to die for. The only problem is that it suffers from a sticky neck and after 20 minutes playing, the finish on the neck turns into glue and it becomes deeply unpleasant to play. I've tried a few things to fix this but nothing worked and for the last few years I've ended up using other basses to gig with and the Ricky has ended up languishing in its case (which I appreciate is not going to help the neck 'breathe' and cure the stickiness). Yesterday I realised what a waste this is so I grabbed a scotchbrite pan scourer and gave the neck a thorough rub down. And bingo! Rehearsal tonight, and it played like a dream. And I used the studio's Ampeg head and 8x10 fridge.....what a sound..... So I now have a new bass. It has a dull finish to the neck, but it plays like a greased otter in a bath of lube. They will have to prise it from my cold, dead fingers to get it off me. I am in love all over again....

Thanks everyone. Some really good pointers here. I'll try and distill this down to two or three key points to try out on Saturday. I really want to get this right as we're back there on new years eve so this weekend gives me chance to try out ideas.

I'm after some advice from the live sound gurus among us.... We're booked to play a pub soon and, having played there a couple of times before, we've found the acoustics challenging to say the least. The building is an 'L' shape and the band area is at the bottom of one of the legs of the L. It's normally the darts / pool room and is connected to the rest of the pub by a narrow archway. The rest of that leg is taken up by the bar which runs along one side of the leg and the other leg is seating and dining. So where we play is effectively cut off from the rest of the pub by the archway. The ceiling is low and the walls are bare so sound gets reflected back into the room where we're playing. We normally set up at the bottom end of the leg and put the PA speakers (vox only) either side of the arch, firing into the pub. Vocal monitoring is a pig as the room is prone to feeding back and the monitors have to overcome the guitar amps and drums which are playing at volume in order to be heard in the rest of the pub. I'm wondering if there's a better set up? Should I set up the guitar amps in front of and pointing at the guitarists, so that they become their own monitors and then Mic them to put through the PA? Should we try and set up oriented across the room and just "play to the room" and effectively ignore the rest of the pub - not even try to be heard out there? Or is there anything else we can do to get the on "stage" volume down to a reasonable level and still be heard by the rest of the pub? Apologies if my description is a bit vague but I'm sure many fellow bass chatters must have encountered similarly challenging venues and could give me some pointers on how to get a reasonable mix? Thanks in advance

[quote name='bassace' timestamp='1479648844' post='3178073'] I don't know what all the fuss is about. I thought Tapestry was very good. [/quote] PMSL

[quote name='FinnDave' timestamp='1479641139' post='3177994'] Been using mine for about 3 years now, and remember the 'remoteness' for the first handful of gigs, it soon passes and the earplug level becomes normal. [/quote] Good to know, thanks [quote name='chris_b' timestamp='1479641218' post='3177996'] Imagine if/when your hearing sounds like that when you have no plugs in? [/quote] Indeed - which is why I'll persevere with them

[quote name='mcnach' timestamp='1479652744' post='3178125'] Right! I'm done with my "christmas tree" plugs that reduce the sound but sound pretty naff, so much so that I find myself not using plugs when I think the onstage sound is low enough... but the thing is I'm still closer to the drummer than I should if I'm going to spend so much time exposed to that . I want a set of ACS Pro17... their graphs seem just right. What's the process? You contact them, sort through them an appointment with a local audiologist to get the moulds made... and wait a couple of weeks, or something along those lines, right? [/quote] Basically, yes. Order online via their website choosing the options you want (I got corded and had my name lasered on to them. Although, in hindsight, that may not have been necessary. I mean, who else's ears would they fit, right?).They send you a voucher which you print. Make an appointment with a local audiologist (I used Boots) - ACS have a list on their website. Give them the voucher, they squirt stuff in your ears, let it set and then they remove it to send to ACS. Wait a few weeks (I think I waited about a fortnight). Enjoy