guildbass

[quote name='BetaFunk' timestamp='1355509064' post='1899504'] Kajagoogoo [/quote] Yep, plus one on that one... And T Rex...

A demo of ice Angel...Written by our Sandra after yet another failed relationship...lesbians eh...keep 'em heartbroken and they write great pop songs. Bass was the Spector NS2000 DI'd into the Yamaha AW2816 desk...Guitar was a close mic'd Babicz , the spare of the spare nicked from Porcupine Tree's line-up...I might pop down to Lidl and score some of their £15 Bongos later... [url="http://soundcloud.com/sardi-1/ice-angel"]http://soundcloud.com/sardi-1/ice-angel[/url] I'm not experienced at this recording malarky so any comments welcome...

[quote name='highwayone' timestamp='1339479575' post='1688942'] I know what some self explanatory effects do like fuzz,wah etc but being a new player I haven't the foggiest what some do like envelope filter and flanger etc?!?! Is there somewhere on here that lists effects and what they actually do? Cheers. [/quote] If you have 'em on the floor most of them mostly make teenaged boys think you're a hard rock god.... I have this really cool effect that if I use it, it increases the initial amplitude of each note, lifts and can clip the front end of the note and helps define the individual notes with a slightly percussive 'click' sound... I call it a plectrum (T.M.)

A Verdik 'quality 10' Hifi valve monobloc [url="http://www.radiomuseum.org/r/verdik_quality_tenq1_mark_ii.html"]http://www.radiomuseum.org/r/verdik_quality_tenq1_mark_ii.html[/url] , driven by it's matching Hi Gain pre Amp, liberated from Salters haberdashery in Tiverton, housed in a home made chipboard enclosure and driven a pair of Fane 2 by 12 PA cabs. The Bass was a '63 Hofner Senator with a pick-up liberated from a Burns Tri-Sonic Guitar. When i got back into bass after those heady lower sixth days in '75 I built my own rig with a Peavey Max valve pre amp with cross-over going through whatever power amp i could blag with the low end of the signal going into a ported 15" Fender cab loaded with a Gauss 15 and a home made top cab with a pair of 7" HiFi drivers with polyprop cones sitting in tuned enclosures. Today, I tend to use a little Alesis 60W 1 by 12 or an old '80's Boxer....The basses do the tone...:-)

[quote name='51m0n' timestamp='1337709444' post='1664376'] For a hardware device of '90s era it was one in a long line of perfectly good multi fx devices from Yamaha (loads of project studios had them I agree) but in the 90's it was all about Lexicon for reverb and Eventide Ultra-harmonisers for modulation fx. Since Bricasti hardware solutions turned up they've consistently been 'the best' for reverb although a lot of people still love that Lexicon sound. The Eventide stuff is still outrageously powerful too. What I'm trying to say is you can get a taste of that Bricasti sound for free right now [url="http://www.samplicity.com/bricasti-m7-impulse-responses/"]from here[/url] running them in this here [url="http://www.knufinke.de/sir/sir1.php"]free vst[/url], and it will sound incredible (promise, I use that exact set up for a lot of reverb requirements). Another amazingly superb free vst reverb is the [url="http://varietyofsound.wordpress.com/downloads/"]Varety of Sound Epicverb[/url], which is every bit as good as the Yamaha ever was. If you want a great plate reverb try [url="http://kunz.corrupt.ch/products/tal-reverb"]Tal II[/url] All free, and sound fantastic in their own ways. [/quote] Hah! OK... Well if i could learn how to get those sounds into the yam I'd certainly give it a go. Truth is though,nine times out of ten the punters couldn't tell the sound of the Sidney Opera house from someone yelling into a metal shipping container...

[quote name='cheddatom' timestamp='1337702838' post='1664258'] I've been using real reverb from my room on vocals recently and it sounds so much better! If you have a "roomy room" it's probably cheaper than any hardware. But obviously there are free plug-ins such as 5i's recommendation [/quote]I'd love to find a room that worked well but without such a luxury it's much nicer to record 'dead' and put the room on afterwards. We recently set up in a house and as soon as I cranked up the old MD409 the room just crushed everything...the ceilings were too low for starters. I've tried in churches too...It IS lovely but you need a time to get the 'room' mic'd up as well as the talent...

[quote name='51m0n' timestamp='1337702051' post='1664233'] There is nothing industry standard about the Yamaha SPX reverb..... Compared to a convolution reverb impulse from Bricasti (free) running in SIR (free convolution reverb impulse plugin) the Yamaha SPX reverbs will tend to sound very very last millenium IMO. [/quote] Well, the SPX900 was a revelation when it came out and was an industry 'go to' effects unit in the 90's. At the end of the day we are talking about a powered 24bit desk with mastering and a full effects suite for sometimes well under £300. Mine was used by Steve Wilson to record porcupine Tree's live stuff off the FOH desk and he's pretty fussy about sound...

Right... This is, in my opinion a very cheap and extremely effective route to go for home recording. First... Buy a Yamaha AW2816 or 4416. or, if you are a little more flush, an AW1600. All three are 8/16 channel mixer/recorders and will provide 24bit recording plus all the mixing and excellent Yamaha SPX effects including industry standard reverbs. That means you can stick all manner of compressors and what have you on the inputs and add all manner of wondrousness on the final mix. the older 2816's and 4416's have power sliders so you can do a dynamic mix and it'll remember your slider movements and mimic them for the final mixdown... here's mine doing just that...; [media]http://www.youtube.com/watch?v=CQRExTgSnT4[/media] Second, pick up a Mackie VLZ3 mixer... not for the mixer bit but because they have stunningly good 'boutique quality' mic pre-amps. You can't buy pre-amps that good for remotely close to what a mackie costs! The 802 having three and the 1202 having 4. You can rig it so just the Mackie pre-amps are working or you can work it so the Mackie's shelving controls are in circuit as well. All the Mackie Pre's are good but the VLZ3's are really good. Good pre-s are very important...without really good transparent pre-amps the best mics will sound mediocre, also, running the Mackie pre-s into the Yamaha line in's gives an extra bit of gain so the Mics can be really sensitive without the front end pre-amps being cranked up to far. For general room, a pair of Behringer C2's are £50 ....and come with a little frame so they can be arranged in ORTF or whatever stereo arrangement you want to play with. They are 48V phantom power small diaphragm condensers and sound pretty nice. The Behringer large condenser studio mics are also very good and dirt cheap. .....In fact most modern large condensers are good these days. Probably one of the best Budget ones is the Rhode NT1A.......A lot of engineers think they are damn close in looks, build and even sound to the equivalent Neumann TLM 102 I've got a cracking sound from my Mackie/yamaha set-up....I can't afford a Rhode NT1A yet! Hope this helps!

Get It On.....From Electric Warrior. Simple as you like...root 'E's have an off beat groove, the A is on beat the g to a run up offers some improv fun but the deal is.... Get it right and the song GROOVES...T Rex is ALL about the bass groove

[quote name='thumperbob 2002' timestamp='1263756915' post='715933'] John Entwistle - My Generation Bob [/quote] Yup...Angry, dirty, entirely appropriate

Geoff Mason, the guy who built the Fingerbone Fretless I have said that if you had a lacquered finish you were basically playing plastic rather than the wood of a rosewood or ebony board.

[quote name='Ou7shined' timestamp='1336585110' post='1648017'] I don't care what he's doing with these Squiers per se but he isn't exactly squeaky clean folks ... I've spotted a bit of nefarious selling/buying activity - namely a size 10 lady with a penchant for spray tan and hair extensions who likes to buy Squire basses off him every now and then (two in one day once) and leave glowing feedback.... ... Maybe she puts Squier decals on them and sells them back to ebay. [/quote] Suzi Quattro?

[quote name='EdwardHimself' timestamp='1336769967' post='1650967'] I'm sorry to say that the vast majority of basslines may not suit the desire to be at the front of all the action and play something "out there" but the fact is that in most songs, that is what the bassline is needed for. I try to write basslines that are as interesting as possible but the simple fact is that you cannot do anything too "exciting" because with what the guitars are doing in our songs, you just "lose" the foundation of the actual music. I can't sit there and start playing a load of ridiculous fills every other bar on drums. It might be fun for me, but you just lose the whole rhythm of the song. Same thing with the bass. We are there to support the song. That was pretty much my original point when I started this thread: if bass is too "boring" for him, why doesn't he learn the guitar? [/quote] That's probably the problem then for your bassist.. You are perhaps writing rock bass lines which are basically just chugging along on the beat and in the root....A rhythm guitar but one note one octave down.... Perfectly adequate for generic Rock ...Most '70's rock/pop lines were like that...But frankly....Dull to play...Great for the punter as you were replicating the original but not creative for the musician. it's work, not play...the best tunes are both...It isn't about fancy fills, it's about the groove and you don't need lots of notes to groove...Listen to T Rex's 'Get It On'...The entire song gets it's groove from the bass simply because in 'E' the bass plays a neat little off beat riff then switches to an on-beat chug for the 'A' Take the bass out of T Rex and all you've got is Country and Western. Simple songs absolutely transformed by a really simple but 'real' bass line...And sooo cool to play right

Guitar solos, song melody lines and 'proper' bass lines use the same bit of brain....That's why you can easily sing while strumming guitar but not while solo-ing on guitar or playing a bass line that isn't thumping along on the beat like a tuned kick drum. He probably plays guitar melodies or solos because they feel 'right' for a bass player...i do sometimes too...great for feel, timing and accurate note placement and if he's just going doing doing doing with root notes on the beat, he's probably bored...Doing that is the province of guitarists who think bass is easy!