jensenmann

I´ve recently installed Rockinger PUs in my Jazz Bass. They sound incredible and were a big improvement over the stock PUs. The cool thing is that they have a bridge PU with more windings hence more mids. That makes the difference in terms of cutting through.

TC Fireworx is a mighty FXbox. It´s not intuitive and needs a steep learning curve. But it´s IMHO the most flexible 19" processor for instruments. More or less the same league as an Eventide DSP4000/7000/8000 for a lot less money.

You could try to get a cheap piezo transducer, something like this: http://us.shadow-electronics.com/products/double_bass/main/sh_sb_1 Stick it under the fretboard for the click. With a passive piezo you will need an active DI with a very high impedance input (>5MOhm). These are rare. Have a look at the specsheet of your DI to make sure that it´s not the usual 1MOhm input DI. These will kill the treble. There´s a specialized product for exactly this purpose: http://www.radialeng.com/pzdi.php

I´m using a TC electronic SCF since two decades in my live setup. Through the times I bought a few others which basically sit unused in the corner after a short honeymoon phase.

dbx160A or X or XT are a classic. I´d stay away from the budget dbx compressors range like 166, 266, or even cheaper Behringer and Alesis stuff, though. If you want to enter studio territory (financially) then a Distressor, Urei/Universal Audio 1176 or LA3A, Purple Audio MC77 may be an option. Most of the time I record bass through an Urei LA2A which is a no-go in a live rig since it eats up 3U rackspace and costs 3500bucks.

[quote name='chriswareham' timestamp='1385685088' post='2291275'] Roland TR-77 analogue drum machine (with MIDI retrofit) Roland Jupiter JP-4 analogue synthesiser (with MIDI retrofit) Oberheim OB-X analogue synthesiser (with MIDI retrofit) ARP Omni II string synthesiser Solina String Ensemble string synthesiser Powertran Transcendent 2000 analogue synthesiser Synare 3 analogue drum synthesiser clone Coron DS8 analogue drum synthesiser clone Novation Super Bass Station analogue synthesiser module Novation Drum Station digital / analogue drum module Roland MC-50 sequencer (with HxC floppy drive emulator) (the x0xb0x has since been sold) Tascam eight track digital recorder Boss DR-55 drum machine Musicaid Clap Trap Frontline X-8 stereo mixer Frontline X-4 analogue effects Behringer mixer (about to be replaced by a Mackie with more channels) Demeter Compulator compressor pedal Darkglass B3K distortion pedal Electro Harmonix Clone Theory chorus pedal Electro Harmonix Electric Mistress flanger pedal (now powered by a Voodoo Labs PSU, including the EH pedals which have been converted to run from DC) Melos Echo Chamber tape echo Melos DE-1 analogue echo Not Pictured: Hondo II bass guitar (Rickenbacker copy) Musicman Stingray Stealth Eko semi-acoustic bass Ampeg SVT CL with 410 and 115 cabs Hammond Organ (Japanese made transistor one, not an American made tonewheel one unfortunately) Hohner K2 String Vox keyboard Movement Sequence Memory Rhythm analogue drum machine Dynacord EC 280 analogue chorus, echo and reverb Melos Mini Fazer phaser pedal Melos Mini Comp compressor pedal [/quote] Heck, that´s some great synth gear. Congrats to that collection!

[quote name='Thunderpaws' timestamp='1388256901' post='2320116'] I was hoping someone would say that! Though it would mean a wee trip to the shops for a decent bass Mic that I can't afford! [/quote] If you have to deal with many guitars then record (besides DI) the cab with lots - and I mean lots - of treble. Even if the cab sound might be too bright in the room. All that treble will help you cut through later in the mix. A compressor, which (hopefully) will be used while mixing, will tame the treble anyway. And no, that´s not the same as adding EQ later. The good thing is that using the amp/cab just for treble doesn´t require a fancy mic in front of your cab. A Shure 57/58 or whatever available crappy dynamic/ribbon mic is fine as long as you have the DI signal for the solid low end. I´d not use condenser mics for that task. If you want to go crazy then record a third, completely distorted track. This may help even more in the mix.

There was a now obsolete product by TC electronic called 1140 which is a four band parametric EQ sounding great for bass. It can still be found used for cheap (considering the quality). IIRC there was even a basspreamp version TC1144(?). Not sure about the numbers. I can highly recommend these. Besides that have a look into studio EQs. There´s quite a bunch of 1/2 19" and 19" versions out there.

I´m playing my 135 with the original 4x12" cab. The lowend of this combination is not as solid as my SVT+8x10" but the beauty of the fender stack is the midrange and overtones which are quite different than what the Ampeg does. Currently I´m looking for a Boogie 1x15" to try it with my 135. I have the feeling that the amp needs a cab which has lot´s of lowend by default.

On their first record Timmy C played a mapleneck Musicman Stingray through an SVT+8x10. I saw them several times live in the early 90s with the same setup on stage. Dunno if or what pedals were in the signalpath, though.

It´s more on a beginner level, but sheds a light into many niches, though. You get a lot of information for your money since it consists of 3 double layer DVDs. Anyway the best thing you can do to learn about recording is simply to do it and not too much think about it. Read a few good books about the theory, esp. miking and ask experienced people for their opinion about what you´ve done.

TC electronic SCF here, the only pedal which comes close to the TC2290 (the best flanger sound ever, if you know how to handle it - kind of rocket science)

usually http://leedsradio.com/ has a good stock of these, but pricey and in the US

Lovely. I used to play one of these long time ago. Here´s what I use now:

My Ampegs, enjoy: [sharedmedia=core:attachments:92838] [sharedmedia=core:attachments:92822] [sharedmedia=core:attachments:91982]

The soundquality of passive DIs depends on the quality of the transformer. Now guess what you get when buying a 20GBP DI ;-) Add on top of at least 20GBP for a transformer the cost of 1x XLR, 2x Jack, 2x switches, 1x case, resistors, veroboard, nuts, bolts, screws, distance bolts, wires,.... and you´re approaching 40-50GBP. OTOH if money is of lesser concern you can build active DIs for little more than that and invest in great a transformer. That´s what commercial companies will mostly do not - for profit reason. Such a built can outperform the most expensive DIs available. Here´s a link for such a miracle box: [url="http://www.groupdiy.com/index.php?topic=36569.0"]http://www.groupdiy....p?topic=36569.0[/url] I´ve built a pair of these (with a different transformer, though) and never looked bak. My other DIs collect dust ever since. You´re aware that there´s some metal work involved.... got a 24mm drill???

[quote name='bigjohn' timestamp='1341668686' post='1722533'] Love it. [/quote][quote name='Musky' timestamp='1341669744' post='1722544'] Niiiiiiice! [/quote][quote name='Truckstop' timestamp='1341671101' post='1722566'] Extra sexy! Truckstop [/quote] +1

Consoles are really helpful when it comes to workflow and sound - talking about consoles for men, not boys toys. Within 200GBP budget there´s nothing to gain compared to a recordinginterface and working ITB. The cheapest serious desk that I would rate to be beneficial regarding workflow and sound with interface integration or DAW control are a Midas VeniceF, Audient 4816 etc. Not exactly your budget. So +1 what Rimskidog says. Unless you´re very serious about recording go with an Interface and do it ITB.

dbx160 (A, X or XT) have been used by many many pros in their rigs. dbx1066 is a more flexible descendent of these. Leaving out 3 RU or tube monsters, todays studio standards are Distressors, Universal Audio 1176 or clones of these (esp Purple Audio MC77), Universal Audio LA3As or - what I use a lot for tracking Bass - SPL Dynamaxx (a more or less one knob compressor which is impossible to let sound bad). There are many more of course.... I´d stay away from cheapo comps like Behringers, Alesis or even the cheaper dbx stuff. They often sound dull, kill transients or even create ugly noises when hit with slap signals.

I´m playing a B15S since mid 90s with no problem ever. Good enough for small gigs and rehearsals if the band isn´t too loud. It´s insanly great for recording, though. A friend had a similar B15S as well as a later Reissue model and sold the reissue since it couldn´t compete soundwise. He said that mostly the speaker was the problem. Original CTS 15" are really hard to come by so there was no option to swap. If you need it a bit louder have a look into Fender Bassman 100 or 135 tops.

I´m playing an obviously rare set, which is not in the poll: 0.040", 0.060", 0.080", 0.100", 0.125" stainless steel of Rockinger guitars. After a few years of trying different brands and strength I felt in love with these and use them since 20 years now.

[quote name='Spoombung' timestamp='1328525378' post='1528368'] Does anybody have any experience with the Mk3 Wals, you know, the 'ergonomic' model? I'm curious about them in terms of balance, comfort weight etc... [/quote] I used wo own a Mk3 6string fretless for some years. I sounded great, but hat some ugly deadspots. The neck was too thin for me and had a shape like a surfboard. From my other Wals I was used to having a chunk of wood in my hands while this neck was just too slim. Besides that ergonomics were great, though.

[quote name='Spoombung' timestamp='1328349373' post='1525757'] I forgot to mention there is a guy on Talkbass who has the only other (so far as I know) Fender-bodied Wal: [/quote] When I was out for shopping a bass in 1990 I played a Jazzbass-shaped Wal at "Mr Bassman" musicstore in Frankfurt. I didn´t like it back then, while I instantly fell in love with a Mk1 4 string they had. So yes, there are mor Fender-shaped Wals out there.

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