WinterMute

Any user know if the input stage will handle a preamp output? I have a PJB Super Flightcase and run the GED2112 into it with no problem, so I'm hoping it'll be good. Looks like I'll be moving to Australia for a year, can't ship a ton of stuff and the BH would be great.

Another vote for Crown amps, you can pick up a XLS1500 for £300 on eBay, less if you're luck. Bomb proof, light and powerful. Used to run mine with a BF Big Twin, sounded great.

Take a look at the Chauvet DJ range, some very useful and cheap units in there. https://www.chauvetdj.com/products/category/washlights/

I’ve got a Nord Electro for a keyboard, it’s on an underslung shelf as I don;t do a lot of keyboard work, I have an Avid S3 as my controller for protools, plus the Avid Control app running on an old iPad as an auto locator. The S3 is very smart, puts a lot of the functionality of protools under hardware control, it’s a brilliant piece of work.

Learn to coil them properly, always remove them with the jack, not the cable. Thats it pretty much.

The best of the bunch are the Universal Audio set by a long way, excellent emulations of 1176 and LA2A limiters, the Distressor compressor, a whole range of EQ's and Ampeg and Eden bass rigs. Not cheap certainly although a Quad USB Satellite UAD2 box can be had on EvilBay for £300 or £400, and you get the benefit of off board DSP that doesn't tax your processor too... Waves do some good units, again, not cheap. Sadly you do get what you pay for with plug-ins.

I used the Crown XLS1500 for 4 years with a Line6 Pod XT Pro into a BF Big Twin, ran it bridged to output 1500w into 4 Ohms using a 4p to 2p Speakon, coded with red tape to indicate the end that went into the amp. Never had a moments problem, fed the PA from the second Effected output so the FoH got exactly what I was hearing onstage. Tons of clean power, all tone control at the bass and the Pod. The 1502 is a better amp.

BUDGIE...! The Gedster obviously. I've been known to do this, used to front bands in the 80's, and am doing both on the current project, but it's unlikely to see live action, so i've not really been paying attention to the problems of singing whilst playing the basslines... Geddy Lee says that the most often heard phrase during Rush rehearsals used to be "I can't do all this at the same time..."

Leonard Cohen's Live from London DVD a while back from the O2... Alter Bridge at the RAH with the Parallax Orchestra, although the sound was sooooo bad I left after about an hour....

Is the roof connected to the house? You mentioned the building is detached. The door opens to the outside? Audio transference particularly in the LF is a big problem where there is physical connection, my room shares a common wall with the house, so isolating the interior wall was essential.

Technically, that's called "loud"... Getting a good set of seals on the doors, including a raised sill, and any windows will serve you well, but walling up the door won't do much unless you can seal the roof in some way. Mass is definitely your friend however, as is distance.

Been absent from this thread for a while, been building studios for other people, just popped in to say it is entirely possible to increase isolation in any room, but it's likely to be reasonably expensive and not especially easy to do unless you've a good builder or a VERY handy DIY'er. I did mine with the help of a very decent local builder, but I had to lay out exactly what I wanted in terms of the construction and materials, it cost about £8K to fully proof the garage to the point where I can work at proper levels into the early hours without disturbing the good lady wife or the boys. As pointed out above, isolation is not acoustic treatment, and you'll need to do both if you want the room to be useful with other people in the vicinity. Skol: your room looks grand mate.

3 years with a Big Twin in and out of studios and (a few) gigs, not a scratch on it, handles still functioning, wheels intact. Moved it on knowing it was a tough cab. My Ampeg 8x10 didn't look anywhere near as good after 3 years, and you can't pick one of those up with one hand...

Ooooooo 800RB, that was an amp, used to run one bi-amped into an 8x10 and a 4x10....

I'd really urge you to try the BT2 if you can, I know it's a ton of cash, but it's so far from the sound of the original designs now. If you can get down to Brighton, Alex will show you the whole range and make you some tea.

Agreed on the pick guard, and the G string on the Bongo took some getting used to I'll admit, but the 20th Anniversary SR5 without the guard and with slightly different spacing is in a different league... The 25th Anniversary is also a monster, but I don't like the semi-single cut shape so much. Sounds magnificent though.

The only thing that sounds better in the mix than my Bongo 5 is my SR5 20th Anniversary....! Seriously, balls-out tone, great build quality and necks that fit my little hands (no I'm not Trump). Pretty much what Skol said actually. I'll get me coat.

Alex has some interesting this to say about excursion for bass drivers, the units he uses now are designed for extreme excursion specifically to handle the sub 60Hz content. The reason a lot of studio guys (and live I believe) hard filter the LF is that LF below 50-60Hz is very difficult to hear accurately and causes all sorts of problems. Most studio monitors roll off quite dramatically below 50Hz, and as the saying goes, if you can't hear it you should fear it...

I've got a Super Flightcase in my studio, the PB300 looks grand with that as the SF only has line out as well. Quite like the idea of a 12x5 rig...