escholl

[quote name='alexclaber' post='450310' date='Mar 31 2009, 10:06 AM']The sensitivity of one Compact is about 100dB @ 1W1m. The sensitivity of four is about 106dB @ 1W1m.[/quote] You'll have to forgive me if this is a stupid question, I'm still trying to learn about all of this stuff. But my understanding is that in the sub-200Hz range, the benefit for just two cabs would be 6dB, as not only has the number of drivers doubled (+3dB) but also the bottom cab has gone from half-space (assuming it's not against a wall or in a corner) to effectively quarter-space (another +3dB below 200Hz -- the coupling effect you talk about is the change from half to quarter space). So then adding another two more cabs would be....loud. >.<

[quote name='Zoe_BillySheehan' post='450167' date='Mar 31 2009, 12:34 AM']Hello Whats the course you're doing/done at uni? And thanks a lot for the advice really do appreciate it! Yeah, i think with all this stuff, it is good to just sit down on your own, and work it out for yourself but yeah, really am considering doing a course now! thank again! Z x[/quote] The course that I'm doing (although there's only three weeks left of class -- feels weird to think of that) is Audio Technology & Electronics -- I've focused more on the electronics side in my courses and learned the music production part more independently through my own projects, band, experience, etc as while it's important to learn things like microphone techniques, and how things like compressors work so that you can use them most effectively, the majority of it is just sitting down and doing it, becoming comfortable with the software and techniques until it becomes like second nature. Having said that, I always think my mixes are rubbish ^_^ Like i said, you will get the hang of it -- but if it's something you really enjoy, then i would def suggest taking a course in it. Since you can't do that yet, my advice would be -- and yes, i know it sounds a bit lame -- but honestly, get some books on it, read them, apply it to your mixes -- it will give you a serious headstart. Two I'd recommend are [url="http://www.amazon.co.uk/Modern-Recording-Techniques-David-Miles/dp/0240806255/ref=sr_1_2?ie=UTF8&s=books&qid=1238493600&sr=8-2"]Modern Recording Techniques[/url] for an overall guidebook to recording and [url="http://www.amazon.co.uk/Mastering-Audio-Science-Bob-Katz/dp/0240808371/ref=pd_sim_b_3"]Mastering Audio: The Art and the Science[/url] which is about more than mastering, it's really an excellent overview of how music gets from artist to final product, and how to get it there. Those are the two I've read that I've found most useful, however you will probably want to get a copy of something like [url="http://www.amazon.co.uk/Home-Recording-Musicians-Dummies-Strong/dp/0470385421/ref=sr_1_1?ie=UTF8&s=books&qid=1238494014&sr=1-1"]this[/url] before those other two, as they can be a bit technical and it would be easier, i think, to start with a bit less technical overview. However, I've not read that one, so I can't say either way, but the "for dummies" books are usually pretty good. Anything else you want to know, just ask --Eric

not bad, it's got a very "live" feel to it, if that's what you were going for. If you want me to be critical: -the guitar is a bit thin, both at the bottom and the top. I would try to capture a bit more "body" of the guitar, to give the sound a bit fuller nature, and sparingly use a harmonic exciter as well in post processing if you've got one -- they really help to bring out acoustic guitars. -if you can, record the guitar in stereo -- my choice would be an MS technique, but a coincident pair would also work. this will help take the "mono" feel out of the mix, and with the now wider guitar, the vocals will sit much better, instead of having to be placed spatially right on top of the guitar. -the vocals sound ok, i would take the backing vox level down a bit so they don't stand out quite so much, and add some reverb to both, just a bit to get rid of that dryness. other than that, sounding good! also, myspace destroys any fidelity you may have had in the mix anyways ^_^ i've been following your studio build for a while -- really hoping to be able to do something like that myself someday. would love to hear some more stuff when you've got it.

[quote name='Zoe_BillySheehan' post='450028' date='Mar 30 2009, 10:12 PM']I'm definatly concidering it. Unfortunatly i won't be able to do it for the next 2 years... cause im starting a 2 year media course in sept (which im really looking forward to ) but yeah, i might! Z x[/quote] a course in music production or audio tech is a good idea...i wish my uni had a better course though (it's a bit lacking) ^_^ since you're a student, and you've got a mac, i would look into getting a full copy of logic 8, with the student discount you can get it for around 120 i think? that was a few years ago, it might be a bit more now. but it's an excellent all-in-one solution and is (one of) the industry standards, so it's worth getting familiar with. it might look a bit complex at first but it only becomes as complex as you make it, if that makes sense. the advantage of logic over some other software is that the plug-ins are all excellent quality (if you don't know what those are -- they're the compressors, eq's, and other processors, including other things like synths and drums -- ultrabeat won't replace a real drummer but it's pretty good). once you learn the software, you can pretty much do anything you can imagine. pair that with a decent soundcard (these can be had for around the same price, or a bit more (or less), depending on what you go for), some decent monitors, and you'll be good to go! edit: by the way, i should add that 95% of what i've learned about the recording process i've learned on my own, either through experience or just by reading books about it. you can do it!

[quote name='Telebass' post='449984' date='Mar 30 2009, 09:42 PM']rather than coming across as a smart-arse.[/quote] good point. manages to play jazz without looking the like she is completely up herself ^_^ probably one of the reasons i think she's alright.

[quote name='AM1' post='449982' date='Mar 30 2009, 09:41 PM']A comrade :-) I like your style. We've got a gig on Saturday! I'll come see you, if you come see me! Caveat: It depends how inebriated I eventually end up on Saturday night and who's sofa I pass out on! [/quote] haha but we've got a rehearsal sat night, so i'm not sure i could make it :[ where is your gig?

[quote name='The Funk' post='449813' date='Mar 30 2009, 07:30 PM']I don't think I've seen anyone with floating thumb technique have any part of their plucking hand/arm resting against the bass.[/quote] well then, you should come see me play. we've conveniently got a gig sunday! >.<

[quote name='Pkomor' post='449935' date='Mar 30 2009, 09:16 PM']noo stringray and a harkte head![/quote] gutted!

well done, that's sounding pretty good both musically (obviously) and as far as production values go, considering you did it in garageband. ^_^ recording/mixing is a long and time consuming road (i feel like i've spent about 1000 hours so far on our most recent tracks), as others have said, but well worth it in the end. plus, it gives you an excuse to buy all sorts of new gear!

[quote name='AM1' post='449702' date='Mar 30 2009, 05:44 PM']On the jazz, my arm still rested against the body, but my wrist did not make contact with the "edge" of the body.[/quote] i've just had a thought, does this bass have sort of a less rounded or kind of sharp edge to it? mine is cheap, plastic, rounded, and very worn; the last three probably the reason why it's never given me a problem but i would think that if the finish was natural or just a bit rougher, or the edge a bit sharper/in a slightly different place then maybe i might have the same problem. not suggesting you buy a new bass or anything, just musing...

[quote name='Buzz' post='449179' date='Mar 30 2009, 07:39 AM']You could do exercises and stretches to strengthen your shoulder, core and back muscles as well. Solving the root problems (poor back and core strength) rather than just getting around it by buying lighter equipment. Just an option mind you. Good choice of avatar as well chap.[/quote] at first i thought he was you, then i thought you'd replied to your own post ^_^ this same avatar thing is confusing.....

[quote name='Pkomor' post='449751' date='Mar 30 2009, 06:32 PM']I love the tone! i know its mostly in the fingers, but any ideas to help achieve that on my graphic eq?[/quote] boost the upper mids (800ish Hz) maybe, roll off above that, roll back the tone control a bit, use the bridge pickup if you've got one, play fingerstyle near the bridge? the mid boost might be too high in the spectrum so try a bit lower if 800Hz doesn't sound right. i don't really go for that tone so i'm just guessing here.

[quote name='AM1' post='449657' date='Mar 30 2009, 05:09 PM']Escholl - it's just a small patch on my wrist that rests against the precision neck, i use floating thumb too (but it's a variant of floating thumb, it's not "true" floating thumb as the purists would define it) but even at that, I do use my thumb on the pick up when I play low e string, the rest of the time, my wrist touches the top of the bass, it's unavoidable unless I contract my arm muscles to hold it off![/quote] hmm no idea then -- that's basically the same way i do it. I tend to sweat a fair amount but usually just find it makes it slipperier, of course now that you've got me paying attention to it, i'm realizing that bit of skin is a fair bit tougher feeling than the same spot on my other wrist -- almost like some sort of pseudo-callus or something looks like a sweatband is the way forward!

[quote name='Protium' post='449634' date='Mar 30 2009, 04:48 PM']I beg to differ, I find keeping my wrists close to straight infinitely more comfortable than a near 90 degree angle... The only thing that benefits is handspan.[/quote] +1 although if i need the handspan i can always bend my wrists. although, if i could play as well as her, i probably wouldn't worry too much how i did it

How exactly are you resting your arm on the bass? I do what I think is the same thing, only I don't ever rest my thumb on anything, allowing it to float, if you will, over all of the strings -- which certainly has a fair few benefits to the typical style of resting it on a pickup, so I can see why you'd do that. But i've never had any issues, certainly not any bleeding (!!)....i don't use a wristband or anything either, maybe it's just a matter of what part you're resting? For me it's usually the bottom of my hand/wrist, but it varies with the string i'm currently on, if that makes sense.

bump. anyone? thoughts on the new tracks? anyone?

at 8:00pm. It's Aeterna's first gig -- come see! Also looks like we will be playing the Corner House in Cambridge on April 22nd, will post details when confirmed.

hmm, i wish i had parents (or anyone) to help us move our kit around. the only one with a car even is the drummer, and it's a tiny one at that. gutted.

ooo that looks nice -- never actually seen one before. good buy!

[quote name='ARGH' post='449134' date='Mar 30 2009, 12:33 AM']Its not often I hear a REALLY strong lp these days.....All killer ,no filler...[/quote] plenty good ones out there. just have to know where to look.

[quote name='johnnylager' post='448947' date='Mar 29 2009, 08:44 PM']I believe random access media have seriously impacted the quality of tunes coming out. In the good old days of vinyl and even cassette, one tended to listen all the way to the end of a side or album and it had to stand on the merits of the weakest track. Now one merely skips the duffers or doesn't even load 'em onto the mp3 player. Possibly - discuss. EDIT: I am sure I'm as guilty as anyone else of doing it though.[/quote] Since i've realized this a few years ago, i've made a point of listening to albums all the way through now, and in the right order -- after all, a lot of work usually goes into that. And you know, it's funny, i can't stand to listen to tracks on shuffle anymore! Of course, some albums are still rubbish, and don't flow well, and have lots of bad songs -- but those bands are usually crap, so i don't tend to listen to them in the first place ^_^

[quote name='jonny-lad' post='448751' date='Mar 29 2009, 04:28 PM']I'm 22 and one thing I often find lacking in young musicians is the ability to work effectively as part of a band. Being able to listen to what's going on when playing with a band and adapting to different drummers differences in style, locking in with the rhythm section, and fitting in in the mix seem to get overlooked a bit.[/quote] completely agree.

[quote name='OldGit' post='448666' date='Mar 29 2009, 01:40 PM']ha ha of course not! Any bass player that thinks anyone other then them and maybe the one other bass player in the audience cares a hoot about their sound is deluded.[/quote] exactly. i mean, really, which of these seems more likely: 1) cute and attractive member of audience comes up to you after gig, says "wow, i really like your bass. it just has such an incredible midrange presence, combined with a fantastic warmth and depth that really just stands out in the mix -- and i particularly like the way your amp handled the transients of your playing." --or-- 2) cute and attractive member of audience comes up to you after gig, says "wow, i really like your bass. it's pretty. can i touch it?" not that 1) couldn't happen, of course....

[quote name='ARGH' post='448249' date='Mar 28 2009, 06:04 PM']Protools has destroyed microphone technique.[/quote] It most certainly has not. And yes -- I did read your posts after that. The problem is not DAWs, it's the fact that universities can't be bothered to teach people correctly anymore -- people who then, somehow? go on to get jobs in the industry. Which only makes it more frustrating for those of us who DO know what we're doing. But being the soundman at some sh***y pub is not nearly on the same level as being a recording engineer at a major (or even a smaller) studio, and the quality there hasn't dropped at all -- in fact, I think you'll find much the opposite.

nostalgia isn't what it used to be.