Beedster

I mentioned this in a thread a while back Seems a not so transparent way of eBay getting even closer access to bank accounts, whilst making more money by holding onto money for longer ('usually' is always an interesting word when used to define a payment period)

It's all words and images really isn't it, orchestral music by definition is played by an orchestra, while classical music can be played on a computer, I defy anyone to tell the difference in some well executed examples, but pay for a classical concert ticket you'd be bloody annoyed to see a modern incarnation of Kraftwerk/Tangerine Dream on stage (perhaps not). Some bands - and some audiences - are in it for the music, some for the image, most fall somewhere between the two. Music and the arts generally are as much about subjective traditions as they are objective outcomes, and given I still find it hard to watch bassists in 60's pop bands playing root-fifths on Rickenbackers (or Rick James playing funk on the same instrument), traditions have a powerful effect

Must admit that having slagged off a previous band leader in this thread for telling me what bass to play, I've done the same thing with our guitarist, whose choice was very much based on aesthetics (and late 60's semi-acoustic) as opposed to function. It was a lovely guitar, and no end of people came up to him at gigs to check it out. But it sounded awful in the context of our set, was a feedback trap, was hard to keep in tune and, perhaps most importantly, was not an easy instrument to play, being large and bulky with a baseball bat neck and action you could drive the proverbial bus under. He's a good mate so i doubt he would have felt as if he was being told to change guitar, but I guess that if we looked at it objectively, he was told to. I'm a bad person

My set score in 2015

No need to complicate things with the fifth

Talk about the wrong Marshall

Basses are addictive, 6-string basses are basses, ergo 6-string basses are addictive

Yep, not so much making the PUP sound better as much as having less of a negative effect

Always taken a backup, never needed one

I was 'told' by a bandleader that I had to play a Precision in a three-piece punk/new-wave/indie outfit. Irony was that my usual bass was a Precision, but the Ric I was using in that band just worked better for me, the Precision just didn't fill the room the way the Ric did. But he had his mind set on it, and I suspect the reason he'd set up the band in the first place was that he liked getting his own way. Last I heard they were looking for a new bass player.

Thanks guys, I think I'm going to record a few sections with different mic positions/proximity, and different levels of compression, and post it here to see what you good folks think

Hadn't thought about adding an FX to be honest, might try a few over the weekend. My voice is actually pretty good (vocal tone a whole lot better than bass tone), something that's been picked up by a few of the radio people I've worked with. Guess this thread is about trying to get the best out of the gear I have. So wish that terms such as Neumann, Neve or SSL weren't mentioned

Thanks Dad, I have a vocal booth so room is not a problem, but the dynamic range of my voice using an SM7B is reduced the further away the mic from my mouth. I'm doing a bit of trial and error on this at present

Of giving a flying flip

I imagine they conducted a thorough investigation into whether they could be arsed to do anything about it and came to the conclusion that they could not. IP are usually quite good, PF a farce as we all tend to have found to our loss! Very glad you got it back, do love that you paid for insurance to cover their risk not yours, yet they still challenge you on proof of purchase. It’s as if they’re suggesting you might have devised a cunning criminal plan to force them to deliver it to the wrong address to land a huge payout

That's very kind, I might take you up on that. I'm going to do some playing first Anyone able to recommend a resource re multi-band compression for voice work?

Thanks, more food for thought

That's really interesting, must admit it didn't occur to me that it might be something to do with the broadcast process. having said that, a couple of the pieces in question are online - and therefore not broadcast per se - so would that same baked in process apply? I think what I'm looking for might be in the 'not too much else' There's certainly a smoothness to the voice track that suggests a few processes - compression, de-esser (I'm very essy), zero plosives (I'm also very plosive) - without sounding overly processed. I'm struggling to achieve the same in my studio, at least without the voice track sounding overly processed, so I'm guess it's just the need for more experimentation. I guess the core of the above question is whether there's a recognised processing model for broadcast that might serve as a staring point for me; I'm pretty confident for example that my voice wasn't treated to any bespoke FX, as I doubt the Beeb feel the need to make my voice sound any better than it does through it's normal signal path?

Unless they were in appalling non-functional condition, you'd have to work pretty hard to lose money on £500 for a '77 neck and body. Frets/nut replaced, possible work on neck finish (especially if maple/maple) plus decent PUP and circuit, and you're talking circa £800 for a playable late 70's Precision. Works for me

Body weighed a tonne so likely original late 70s? PUP foam worn? £500 still sounds a bloody decent price frankly. Even the worst Precisions tend to do the job with a little effort and patience

I've done a couple of things for BBC Radio and the voice quality compared to what I'm getting in my studio was noticeably better. I'm interested in knowing what sort of processing is routinely used in radio, the rooms themselves and the mics are pretty standard, and there doesn't appear to be a standard mic/room setup (for example in one studio I had a ceiling/shock mounted SM7B I think and in another a much smaller and desktop mounted unit) so this isn't about acoustics or mics, placement or any of that stuff. Keen to hear thoughts and experience Cheers Chris

Now selling my MPC and moving back to live drums for those sessions where it works (I now have a kit that fits in my booth) and software for those where it doesn't. As new MPC + case for sale here at bargain price folks