Bottle

Bilbo, my friend I also have a USB interface and a semi-portable Reaper recording setup if you'd like to try recording into a PC with a different signal chain. I have an M-Audio Fast-Track Pro which has decent pre's in it for the money, and works well with condensers (has a phantom power output), plus the NT4 of course. Good luck with the rest of the recording stuff Ian

[quote name='silverfoxnik' timestamp='1322066876' post='1446136'] The Barefaced Super 12 (IIRC) that Alex had in the Jam Room was fantastic! [/quote] Tempted....very tempted.....saw 'PantherAirsoft's bit about the Big Twin T in the DnB thread, so that and the S12 would be on my 'must listen to' list GK MB500 is now up for sale, along with the 4x10, so getting rid of everyhting so far Ian

[quote name='Rimskidog' timestamp='1321994641' post='1445350'] Room is likely a big factor here. If you work on the basis a 100hz wave is 18 feet tall you quickly get to understand why. gobos will help make the sound more present but there are other things you can also think of: Is the Nt1a the only mic you have available? What preamp are you using? Cheaper ones such as the old platinum series from focusrite were notoriously bad for making things sound thin and distant. Also think about compression. The right compressor will bring the instrument 'forward'. Also, are you listening to the recording in the context of the mix or solo'd? If the latter, try it in the context of the mix. You might be surprised. [/quote] [quote name='Bilbo' timestamp='1322039965' post='1445613'] Spot on. Focusrite Platinum. I have other options I can use as a pre amp so will try that. There is a lot of stuff here that is useful and has given me a lot to think about and try. Thanks guys. [/quote] I have a small diaphragm condenser mic you can borrow Bilbo - it's another Rode, an NT4, which is a stereo mic with a fixed 90[sup]o[/sup] XY arrangement. I also have a cheap Behringer two-channel compressor which you're welcome to try out - YMMV Ta, Ian

[quote name='silverfoxnik' timestamp='1322040566' post='1445619'] It's really interesting to hear what everyone else gets up to...creatively that is! This could be a topic for the next SE Bass Bash... [/quote] Indeed! But I'm down-sizing at the moment - just moved my 1x15 on I think after I've moved house I'm going for a one-cab solution - Barefaced perhaps? Ian

[quote name='garythebass' timestamp='1321958930' post='1444745'] Just purchased Ian's EBS 300 cab. Great guy, very helpful and an absolute pleasure to deal with! Gary [/quote] Awwww shucks, yer makin' me blush!

[quote name='tedgilley' timestamp='1321887777' post='1444058'] Thanks, Ian, since I'm in the States I'd better stick to non-trans-Atlantic purchases :-) And I think the 140 watts is going to be just right for my trio of piano, bass, and violin. We're amped, but volume isn't at the top of the list. I appreciate your breaking it down for me. All best, Ted [/quote] Oooops hehehe, yep, that's kinda obvious now I look at your profile etc. That'll teach me to skim-read the OP Good luck! Ian

[quote name='warwickhunt' timestamp='1321729146' post='1442554'] I'm going through a similar situation at the moment trying to get a 12 string sound, using a 4 string bass (splitting the signal into 2 full range and sending one through octave and chorus then into guitar combo and the other signal dry into a bass rig). I'm intrigued by those who are doing as I am and simply splitting a full range signal and sending one signal to the bass rig and the other (possibly effected) going to a guitar rig, without any issues from the guitar rig getting such a saturation of low fundamentals. Maybe it is the guitar combo I am using but as soon as I start turning up volumes above quiet house volume the guitar combo starts to fart, I'd imagine due to the full range (ie really low notes) signal going into an open backed guitar cab... not good! [/quote] Then you might find this interesting as well - the bassist in the previous video also uses a Waterstone 12-string bass, arranged as three courses of four strings, a standard EADG bass set and two courses of octave strings. [url="http://www.youtube.com/watch?v=h0oZ8PQNC00"]Waterstone 12-string[/url]

[quote name='tedgilley' timestamp='1321884261' post='1444012'] Thanks for the advice, this does help. I am also wondering about speaker hookup. My Schroeder is an 8-ohm cab; the MB200 is 4 ohms. What does this mean in terms of wattage/sound if I run my speaker out of it? tg. [/quote] The 4-Ohm figure in the MB200 spec is it's [i]minimum[/i] impedance load to deliver the full 200w output - it will happily run an 8-Ohm load at 140w or so. It means you can run a single 8-Ohm cab and get about 140w output, or two 8-Ohms cabs in parallel to get the full 200w output (shared, 100w equally between each cab) or a single 4-Ohm cab and 200w. HTH, Ian PS BTW I have it's bigger brother, the MB500, for sale at the moment if you decide in a flash of madness that you need [b]moar powr![/b]

Cheers fella, Early days yet, but they already have another guy there who plays bass - he's got a very nice '71 P in 'burst with a rosewood board and the ashtrays and all the Fender trimmings - jealous, moi? Hehehehe, but seriously, a gorgeous bass - probably worth more than all three of mine put together, by a fair margin Still, can't wait to get the Vintage 'Ray copy out with the flats and have a noodle there Ian

[quote name='mcgraham' timestamp='1318844548' post='1406663'] What I find amusing is how 'THE chord progression' is still being used even by those who insist they are being 'fresh' with the music. G D Em C was used by hundreds of songs worldwide for decades (still is)... then a fresh new batch came out Em C G D (e.g. Beechings' Awesome God).... which is the EXACT same progression but starting on the third chord... then a fresh new batch C G Em D (e.g. Hillsong's Mighty to Save verse and most of the chorus) ... which is the same but starting on the final chord of the first progression... and now there's a new batch... D Em C G (e.g. Tim Hughes's Jesus Saves) ... which is the same but starting on the second chord. Loads of songs borrow from each of these sequences and you may note that each progression becomes quite popular around a certain time. Fortunately there are no more 'shifted' permutations left so there'll have to be some variation now. [/quote] Well, I've gone back to a lot of our previous material, and crikey, if you ain't right in that! Another 'Four Chord' song right out there with [i]another[/i] permutation is 'I Have Found ' (in G major) by Kim Walker-Smith/Jesus Culture; the chord sequence is C Em G D, the chorus is C D (E) with some passing and grace notes (G/ in there too - sounds pretty immense on a five-stringer and you pop down an octave for the chorus, just for SnG's Another fave of mine is a song our old worship leader wrote a few years back, based in the key of Em - chords in the verse were Em C Am D, chorus was E D/E C/E D/E - I snuck in some progressions based around the Em scale and runs up from the bottom (open) E > F# > G > A > E' Some nice songs there, but can get a little 'samey' with the same chords in the same sequence Ian PS I've now left my original church and worship team in Cambridge, and moved to a new church in Bury St. Edmunds, so I've hung the bass up for a bit until I've settled in at the new place, although I have approached the titular worship leader about a future role

Thought I'd chuck in my two-pen'orth I've got a Squire PJ, and it's been pretty good, but TBH, never been completely swayed by the bridge pickup - it doesn't have the same 'oomph' as the P pickup, which is why I've plumped for 'change out the bridge J pickup' - maybe have a look at one of the hum-free Jazz pickups out there, Duncan's for instance (classic or hot stack are both hum-cancelling). Failing that, I'd go for a completelly new [i]matched[/i] set of PJ's - Wizard's or Duncan's again, but with a hum-cancelling J pickup set HTH, Ian

I'm sure one of the more educated members of the forum will be along shortly - those who understand the physics a lot better than I do! My understanding is that mis-aligned drivers suffer more from cancellation and re-inforcement the more off-axis you go. Standing waves and nulls and all that jazz - I understand the terms but not the real-world applications/benefits/problems. I can't say I noticed when I had [i]that[/i] bass rig set up, but then I wasn't cranking it much, and I was standing right in front of it, seeing my trousers flap, and watching what was left of my hearing float off into the distance Good luck with the experiments. BTW if you're in the market for a crossover, I may have one up for sale shortly - I'm getting rid of said rig and amps etc. Ian PS I've just bunged this up as you may be interested in it - the bassist from Clatter uses a three-way rig, with a Mesa Dual Rec and a 4x12 guitar cab for the seriously over-driven portion of her sound - quite interesting to see how she's done it [url="http://www.youtube.com/watch?v=d6HbKRkPnpA"]Clatter Bass Rig[/url] HTH