essexbasscat

Because the Telecaster work in the mix is a joy to pick out [url="http://youtu.be/5YGc4zOqozo"]http://youtu.be/5YGc4zOqozo[/url]

[quote name='winterfire666' timestamp='1360684844' post='1974628'] Rane graphic eqs are awesome and can be picked up cheap second hand [/quote] Thanks WF, I'll check them out

[quote name='Big_Stu' timestamp='1360615090' post='1973530'] Via "Weekend World" on Sunday lunchtimes like so many? [/quote] Oh yes ! best thing on a rainy Sunday, then the long wait until the top 40 on the radio later on

Which one of us is going to be the first one to record 100 bass riffs/runs in a row ?

Don't think I'll eeever tire of hearing that chorus, one of the soundtracks of my life. Sorry, don't have any tab for it though. Thanks for the reminder !

Aha ! thanks for the recommendations guys. More for the GAS list !

Checking out evil bay, there's a wide price range of EQ's available, so certain units may in some way, be better than others ?

HI all, the journey into the dark art of sound engineering conitinues After my recent monitors thread, the question about which 31 band graphic to aim for has come into focus. It's been said around here from time to time that tone circuits (I guess we can include the 31 band graphic in that description, as it's a tone shaper after all) alter the tone just by being in circuit. Do some graphics alter the tone at ground zero more than others ? Are some graphics more pleasing to work with than others ? smoother ? harsher ? some more user friendly than others etc ? Does anyone have any experience of working with 31 band graphics and wouldn't mind sharing their knowledge ? Thanks all

Wonder what effects box he's using ? Thanks for posting that Barrie

This kind of mental rehearsal is central to the concept of an art known as Creative Visualisation (a book was written on this topic by Shakti Gawain some time ago). Artists and performers of many different skills and sports have been doing it for centuries

Well now, well well well ......

The evolution of musical form from pre - Vivaldi to Bach and Handel is inspiring. Beethoven should be interesting !

[quote name='Lozz196' timestamp='1359765543' post='1960211'] I use these Samson BL3s: [url="http://www.gak.co.uk/en/samson-bl3-boom-stand/44855?gclid=COCF34KxlrUCFefMtAod5AsAmQ"]http://www.gak.co.uk...CFefMtAod5AsAmQ[/url] We`ve a range of different stands in each of the bands I`m in, but these ones seem the hardiest of the lot. And at under £25, a good deal too. [/quote] What are the threads like on those ? narrow ? (lots of threads per inch) or are the threads course (not many per inch) and robust ? Many of the stands I've used over time always seem to strip the narrow threads or the socket the narrow threads go into - that's always been the failure point, the rest of the stand has been ok (with the exception of friction clutches). My personal stand has wide, course threads and has lasted for nearly two decades.

The whole Ziggy Stardust LP, The first 10 mins of Quadrophenia and Dreamer by Supertramp.

Perhaps move this to the e bay section ?

[quote name='Zenitram' timestamp='1359144167' post='1950815'] If you are interested in learning the drums, and want to see how well you might get on, and have the opportunity to practise, take a kick drum, snare and hi-hat (add or exchange a ride cymbal if you're feeling jazzy), and get rid of everything else. No toms, no cymbals, just kick, hat, snare. Forget the rest. Take your sticks and start tapping out a 4/4 on the hat with your right hand, nice and steady, letting your own natural rhythm dictate the accents on the 1st and 3rd, or 2nd and 4th, as you prefer. Your left foot will have the pedal clamped shut. Keep going for as long as you like, feeling groovy. Now start easing the pedal open to hear the difference in sound, and then start thinking about opening it at the end of every bar for a beat, or opening it slightly on your accented beat, or just letting it sit somewhere where you like the chick sound you're getting. Keep grooving with just that simple 4/4 on the hats. How does it sound? Funkily in the pocket, or rigid and stiff? You don't need fancy fills to be a good drummer; you need feel. Now add in the kick pedal on whatever beat you like that feels natural and comfortable, still knocking out that 4/4 on the hi hat with your right hand. If you got rhythm, this should begin to feel pretty groovy. Any musicians around you should be wanting to play a chord or two, or even just a note or three, infectiously. Keep it simple. How does it feel? Feel good, feel tight? You're a drummer. Stiff, out of time, uncomfortable? You're still a drummer; you just need to relax. When it feels right, add the snare beat, anywhere that feels natural. Keep on at it, keep being subtle on the hi hat pedal (timing and a fluid hi hat pedal add so much groove and feeling to the simplest of beats). That's the way to test the waters on a drum kit, I would say. It's both easy and hard, at the same time. (That might all have been blindingly obvious, sorry.) [/quote] Good post

I'd agree about Yamaha instruments in general, with the exception of a few acoustic guitars I've come across with the neck set at the wrong angle. The luthier that worked on one of my Yamaha acoustics mentioned he comes across the same problem with Yamaha acoustics time and again. That said, I'm still after a Yamaha B100ii amp (hint hint)

[quote name='mcgraham' timestamp='1359020271' post='1948458'] mmm... sound source can be sound, and the singer can be happy singing along, but that doesn't mean the tonal quality is in any way good. If you sound good, it doesn't matter what mic you use the quality in the voice will be self-evident. If you don't sound good, no amount of mic technique or flattering mic is going to fix the underlying issue. +1. We often think we sound fine/awful, but in reality we are each incapable of getting a true representation of what we sound like from inside our own bodies. This is because we hear more internal resonance, experience resonance shifts that others do not, and hear things sooner than the rest of the world listening, but we also hear less of what we sound like as a complete package or inside a given space. [/quote] This sounds like wisdom gained from experience of vocal teaching. Is there a resource of this kind of knowledge that we can all access ? Hopefully some good tips would be there as well

alternatively, get a powered mixer (there's a yamaha emx 12 on e -bay for £85 at the mo) or a passive mixer + amp and buy a suitable speaker. Plug lots of things in, tailor the EQ to suit and have the possibility to record if you wish. Lots of options to play with, can be used for a living room rehearsal to many different instruments, can even gig with it if it's suitable (like the Yamaha emx 12).

My Peavey MK IV head is ridiculously loud through some GS112's. I easily matched a DJ's low frequency output when we shared a gig, while not pushing my volume control above 3 1/2. THe secret is to read the instruction manual, which recommends setting the final output volume on full and adjusting the gain to suit. Check out the Peavey Mk III + IV appreciation thread around here.