WinterMute

The Radial kits are very good, very well built and do what it says on the tin...

We have an Otari MTR90 mk2 in one of our rooms, coupled with a Custom Series 75 Neve console and the CLASP closed loop plug-in system, much fun... Maintained by the inevitable Clive Kavan [url="http://www.clivekavan.com/index.html"]http://www.clivekavan.com/index.html[/url] Teaching analog recording to modern students may seem a bit anachronistic, but the quality is undeniable, even when compared with Protools HDx through the Apogee Symphony AD's. The CLASP system just keeps it very modern and useful. I still love the sound of drums and bass off 2" 30ips tape. (yeah 15ips is cool too, and Clive will tell you 8 track 2" is the bomb). [url="https://www.uwl.ac.uk/academic-schools/music/facilities/music-technology-facilities"]https://www.uwl.ac.uk/academic-schools/music/facilities/music-technology-facilities[/url]

Just a historical note for anyone who gives a monkeys, a "stem" is not a track, a track is a single recorded sound on whatever you're using for a recorder, it can be the output of several mics or DI's or whatever, but it's not able to be split back to it's components. A Stem is a term from film mixing thats found it's way into music production, the usual term is a group. A stem is a group of tracks that have been sub-mixed to make a single channel sub-mix and is usually used to make a large production mix easier to handle. Imagine a snare drum recorded with 3 mics, a 57 and a U87 on the top and a 414 on the bottom say, each mic would be usually fed to one track, but for mixing the outputs of those three track might be fed to a single mixer input, this then is the snare Stem. You can alter the balance between the mics in the recorder (assuming it's a DAW…) to get the sound right, then you use the single mixer channel to balance that sound into the main mix. Stem mixing is only useful if you have access to the whole component mix, otherwise you have other people making mix decisions for you before you get hold of the audio. Always send the component tracks if you can, always get them from the engineer before you leave the studio too, make sure you have a nice big HD to hold them. Good luck with your mixes BTW, nothing worse than getting a disappointing mix back from an engineer.

[quote name='funkle' timestamp='1397416914' post='2423743'] Sounds like a win to me. If it suits you, could well be a cab for life, that one. Or at least, until Generation 4 comes out. [/quote] I have the Gen 2 Big Twin T, I was a bit miffed when the Gen 3's arrived, but then I gigged and recorded with the BTT again and I remembered what a phenomenal cab it is, I'll not be changing over anytime soon. Barefaced make great cabs, regardless of the generation, I've seen the original Big Baby out and about, great sounding cab. Maybe if I have a spare grand lying around at some point I might take a look at a Gen 3 but I doubt it.

Bongo stealth… Everything matches…. 2012 Bongo 5 string. The "SR5" is a frankenstien, defretted SR5 neck, OLP body, Bartolini pup and pre-amp.

Had my stealth Bongo 5 for 2 months now, and I think it's be best bass I've ever owned, except for the fact I can't see the damn thing on a poorly lit stage...

[quote name='originalfunkbrother' timestamp='1393244952' post='2377652'] Hi Clarky I am studying Music Technology at the University of West London. I too work full time so the Foundation degree may be ideal for you. Its 3 evenings a week 1900 - 2100 and in each semester, you will study a Recording Module. Its a 2 year course and if you pass that, you have the option to make it a BA by taking the 3rd Year. If you need more info, just drop me a PM. Many thanks [/quote] Looking forward to the new studios in the basement opening next week?

Stick the 8x10 in a motorised flight case, add some wheels and a steering wheel, maybe a chair to two... You could call is something like "a car"…! Barefaced all the way for me, damn the cost…

[quote name='MikanHannille' timestamp='1394461902' post='2391567'] They are! I owned this for yeeeaaarrss. Never failed me at all and good tones I can get out of it wether I plug into a PA or amp. [/quote] Misunderstood bits of kit, I use the Pro Rack, used it in the studio for years, and I get great tones from it, but it's a stone bitch to program. I'm an engineer by trade and I think most bassists would struggle to get much from it, the presets are dire. Dirt cheap on eBay, and I grabbed an XT bean as backup as the tone memory is identical and can be ported over USB from a computer.

Lovely bass, I got a 5 string stealth H for my birthday in Feb, always loved the look, but the sound is just first rate, I have the 2nd Gen Big Twin, the B is thunderous though that.

Bongo 5 suffers the same edge of fretboard issue as the SR5, maybe slightly less so, Ive had mine 2 weeks now and I hardly notice it TBH, lovely, brute of a thing. I'd kill bunnies for a 20th Anni SR5 though...

[quote name='Mornats' timestamp='1393084556' post='2376044'] Isn't that just a MIM jazz with a slimmer neck and a badass bridge though? Geddy is one of my idols but I tried one of these basses and still think that every Squier I've played blows it away. Definitely not worth the £800-ish quid new in my opinion. [/quote] Different pups too I thought, I had a Geddy and a Squire VMJ fretless, the Geddy was a better built bass by quite a long way. Sure, £800 new is too much, but for £400, its still a lot of bass.

I had the same VMJ, put a Gotoh bridge and some wizard 84's on it and it sounded great, sold it here a while back. The neck did mark up a bit with round wounds, (I use Swing Bass) but didn't seem to groove at all, just got a bit marked. Very good bass for the money.

The OLP Tony Levin 5 string is a cracking bass for the money, another shout for the Westone Thunder 1A and the Squire VMJ, particularly the Jaco clone. A bit more money, but the Fender Geddy Lee signature is a lot of bass for the money, second hand they can go as little as £400.

[quote name='bartelby' timestamp='1391951855' post='2362887'] Need some black strings for that Bogseat... [/quote] I'd never be able to find it in the dark then…. Might have to install a tracker.

Not a great pic, but non-reflective black basses are buggers to photograph…. Bongo 5er in stealth, none more black, and my SR5 fretless.

I have the XLS1500 into a Big Twin T, it very, very loud and very clean, suits the dynamic of the Big Twin very well, I see no reason the 1000 won't suit the Big Baby. I run in Bridged mode, 1500w into 4 ohms…. Yeah, baby!

[quote name='Grissle' timestamp='1388443785' post='2322157'] The secret magic when using the Bass Pods is to run them through full range cabs. The amp and cab sims were developed based on recorded samples of the various setups. So they basically recorded say an SVT/810 in a studio and went to work matching it up in a studio environment, with studio monitors etc. that's why if I run a Bass Pod "through" an SVT with say a VOX sim its not going to be accurate. But going from the Pod to a power amp to something like a nice PA cab or monitor will be much, much more accurate. I believe this is partly why people struggled with them. For that matter you will get a more accurate result with even the VT Bass units running them the same way. Ask anyone who's had to use their VT straight to a DI or Board and they'll tell you. [/quote] I run the Pod XT Pro rack into a Crown XLS1500 and barefaced Big Twin T for precisely this reason, no point in using modelled signals into a voiced cab, the BT is effectively a bass PA and handles any and all of the models I throw at it with ease, if you like the modelled approach (and I do) then its a perfect set up, huge amounts of tonal variation in a vey small package. The XT pods do need a bit of time to understand the architecture, but I've been using them in studios for years and they are immensely flexible beasts.

Perfect line up of influences, 20 years too young by the look of you, good luck gents.

I have one of these and for £200 its a massive amount of bass…! http://www.ebay.co.uk/itm/OLP-MM-Tony-Levin-5-string-signature-bass-guitar-/231097967560?pt=UK_Musical_Instruments_Guitars_CV&hash=item35ce8323c8

I have a Crown XLS1500 Drivecore, the XLS2500 is very close to your QSC in spec, well built, very light, very reliable.

[quote name='alexclaber' timestamp='1381749399' post='2243039'] There will be a rear panel label on all the generation three cabs, with all the info printed on them, including the serial number, but we haven't had time to design them yet! They'll be self-adhesive and once they're done we'll be posting them to early customers to apply themselves. [/quote] How would you identify a series 2 Big twin then, being as there are no serial numbers etc.? Are the drivers serialised and recorded or something of the like?

Bass Pod XT pro, always get great results from that either as player or engineer, slap a DI down too and you can always use the Pod to re-amp later, or even run a real amp.

To be fair, my guitarist and drummer already look somewhat worried when I fire up the Big Twin T, that rig does everything that I wanted a rig to do, if the BT2 is bigger and badder I fear I'll be playing by myself....!

I used to use an Ampeg 8x10 fridge, a TE 4x10 and a GK 800RB, bi-amped, sounded lovely, weighed slightly less than a small planet and needed the services of several beefy gentlemen to get it into the car or van... I now use a BF Big Twin, which, despite being the biggest of the BF cabs, is still a 1 hand lift into the back of the car. It's louder than the old rig, has much better dispersion, and is capable of producing a much wider range of tones. I'd say that lightweight cabs are absolutely as good, and for my application, better than older designs.