EBS_freak

I haven't mentioned anything about the recording yet everybody is quick to jump a band wagon to state that there is something wrong. I don't think it's bad given the complexity of the track that is being mastered - just short of 10 mins, 25 channels - with changing sounds/patches and levels within those tracks, it's quite a monster. There's getting things "right" and "perfect". I'm aiming for the latter. I may reveal the track in the future at some point and then maybe you'll understand the complexity behind the mastering.,. and as far as bringing the ability of the mastering engineer into question, he's mixed and engineered more commercially successful mixes than the rest of us I'm sure. This example alone states why it's ludicrous to post any sort of time scales on a project because people aren't usually informed enough to know what is involved with a particular project.

[quote name='51m0n' timestamp='1393593512' post='2382330'] Something wrong with the mix then? [/quote] Nope.

It's all horses for courses really and what you want to get out of the studio. For example, one of the tracks I'm working on is up to 13 hours on mastering alone.

What an odd comment. Not all songs are created equal. And to think it took Freddy and the gang 3 weeks to record just one song... Bohemian Rhapsody was it? Talk about getting people to pull their socks up...!

Here you go... maybe this ones less cryptic...

[quote name='Scott_LP' timestamp='1393522839' post='2381474'] Err..? [/quote] Now that's just embarrassing.

[quote name='Scott_LP' timestamp='1393514211' post='2381293'] I can fully understand why the retailer hasn't yet been named. If it was me, I'd only name and shame the retailer when I got my amp back in full working order. [/quote] Err.....?

I've spent a few hours with Larry chewing the fat... and he was very positive about my playing and was prepared to go the extra mile to get some Hartke in my hands when I got back to the UK. It's worth making the trip to see him in NY just so you can witness his enthusiasm. He was passing me basses left right and centre to try with the Hartke amps... I didn't feel that it was him on a hard sale mission... but more of him being excited about being to show me stuff and let them playing it. There's a pic of me out there somewhere with me and him and me with the Jack Bruce Warwick he has there. To be honest, I'm very happy with what I've got gear wise... but if I wasn't, I would have to say, that Larry has got it down in terms of making people feel valued and he does have some great kit at some great prices. It's quite sad to read about this.

Just to clarify - in my response, I was trying to say that the whole package needs to be right with regards to shifting boxes. There's the product that has to be right, the correct distributor and the correct retailers that are chosen (to some extent) by the distributor to correctly push and act in a reputable manner that won't put the product (rightly or wrongly) in a bad light. As proven here, a mistake by the retailer has unfairly painted the product manufactuer in a bad light.. however, I have to say, it's up to all parties along the distribution chain to make sure that they are acting in each other's interests. In this case - and it may be isolated - this doesn't seem to be the case.

Give Larry a call. Point him to this thread. I wouldn't want to be buying any Hartke gear at the moment based on this report. Amps go wrong no matter who makes them... but if you can't get them fixed and if the dealer network/distribution/repair facility isn't in place to enable a quick repair, it can't be regarded as a pro piece of kit and anybody who relies on their gear to make a living, would be a fool to buy one.

I agree with regard to gold and black...

It depends on the sizing of the filters and the IEM you want to use. For example, these - http://www.acscustom.com/uk/index.php?option=com_content&view=article&id=38&Itemid=48 - fit in place of the standard filters. Without knowing what filters you are using, I could only say proceed with caution because whatever IEM you use may not fit.

http://shop.warwick.de/?&c=35352344224&lang=en&smk=1&nm=D0405358001321517424A43801|Warwick|D0525953001321517425A44262|D0316465001321517426A44586&modul=shop&site=shop_overview

Im not sure what to suggest playing wise... but I suggest it may be worth getting the bass to a good luthier to get the bass fretdressed, nut cut precisely and get the action as low as possible to get the speed of the neck up for hammer ons. A fret wrap may help with ringing strings.

For some there is active. For others there is passive. For all other lost souls, there is Bose.

The biggest advantage of active cabs is the space saving when it comes to transporting racked up amps to make the passive cabs work. To be honest, the issues of plugs is a bit of a non issue in reality. Get some of these - [url="http://www.lindy.co.uk/cables-adapters-c1/power-c136/iec-mains-cables-c137/20m-mains-power-lead-uk-3-pin-plug-black-p4564"]http://www.lindy.co....lug-black-p4564[/url] and either zip tie an xlr to it or if you really want a pro job, cable braid the whole lot. Y cable off for any lights or other electrical items you need to power. All this talk of multiple mains leads everywhere is nonesense - it's all down to a bit of planning; right cables for the right jobs. For example, in my function bands, all the power is run off a line of plugs behind the band. Any power going forward is done from long leads. No power sockets for the audience to be near and all the power sockets are in one place, as you would expect with a passive setup. Simple... and you haven't got external amps to lug about. Active power cabs really are very useful - no worrying about minium loads on the amps, just keep on daisy chaining away... We also carry a stack of XLR cables. Having not to worry about dedicated speaker cables means that we have a load of redundancy against duff cables. Just a different view really - not saying there is a wrong or a right, but the power lead thing really isn't a reason to stop you using active. We've got two power lines going forward to the subs - everything is Yed of from there.

Ooh. Nice.

In addition - Priory in Canwell, Birmingham - Greg is a superb engineer and has experience mixing from acoustic, function bands, indie, to metal... and Jane McDonald. Old Smithy, Worcester - Wood is amongst the best engineers I have ever worked with. Lightning fast - which is important when you are paying for time - and a fantastic ear. Old Smithy probably edges it for me out of those too. Also consider Summerfield Studios, Birmingham - a newish studio with a lovely live room and vocal booth. Always remember, the studio is more about the guy behind the desk than the studio itself.

Yup. OBBM. I've had a fair few off him now... and the only guy who has managed to provide an XLR cable for the singist's microphone... that she hasn't killed.

That is as it is. Mine came like that so I think its a caae of Thomanm shifting boxes. I dont think the Sony unit is changong. It just looks like Thomann is pulling out of selling Sony. They can probably get better pricings and higher sales on the Line6 stuff.

12. Rules are to be broken. F**k em.

In what way have they broken?