BigRedX

Do the pre-amps on the interface have any controls other than input gain? If not then you shouldn't be adding any extra "colour" to the input signal by running it through two sets of pre-amps. Pre-amps for recording devices should be doing anything to your input signal other than setting the optimum signal level, unless they specifically have controls for the features.

The strings change angle after the nut anyway. If you think in 3D it's not a problem (as long as the nut has been cut properly).

The point of using duvets is that they are easily repositioned when you are experimenting with the room acoustics. Once you have found the best place for them they should be replaced with proper acoustic treatment panels.

As a user of tapered B strings (and investigating the possibility of also having tapered E) I would agree about positioning of the end of the taper in relation to the bridge saddle. I'm currently using Warwick Black Labels, but I suspect my next sets will be custom wound by Newtone.

I think we've all become complacent about the power of modern technology. In the mid 90s I was doing quite a bit of (static) 3D work. It was not uncommon for render times for a single image that was suitable to be printed on an A3 poster to be measured in days - and that's if the computer didn't crash mid-way through the process.

And which is why I dismantled my "home studio" and sold all my very expensive recording equipment. A couple of outings to decent recording studios with The Terrortones proved to me that weak link in my own recordings was not the room or the equipment, but the fact that I had reached the limit of my abilities as an engineer, and it wasn't a sufficiently good standard for me to be happy with my recordings. It's a pity because, since my very first band in the mid 70s I've always been an enthusiastic home-recordist, but on reviewing the various recordings I have made over the years the ones I enjoy the most are the ones recorded and mixed by someone who wasn't me.

Interesting. From personal experience I've only ever done tracking in a "proper" studio if I either wanted to capture a live performance from the whole band or if I was recording something that made proper use of the space it is being recorded in like acoustic drums. Most instruments these days are either DI'd or close-mic'd (I'm including vocals here) so the space they are recorded in has minimal effect on their sound. I take your point about the poor acoustic treatment of a lot of budget studios, but again from personal experience, the engineer at the studio is generally the most important part of the mixing process, and the ones still working are the ones with a good set of ears and know the characteristics of the space they are mixing in, which is far more important than the equipment they are using. The vast majority of "classic" recordings were done with considerably less, and less capable, equipment than is available to the typical home-recordist. What makes them great are the performance(s) and the skill of the engineers and producers at capturing and manipulating these performance.

Ultimately it might be easier for you to transcribe his part of the conversation and then get him to re-record it on his own computer afterwards, and send you that for editing back in.

I was most disappointed to discover it wasn't a cover of this:

You'll pick up the jargon pretty quickly. Take particular note of anything Studio Support Gnome posts. He does (or used to do) this stuff for a living.

1 or 2 for me, I don't mind which. 3 had too much audible pitch wobble, 4 would have been OK if I was looking for a subtle flanger, and 5 was just too bland. The big test for chorus though is how it sits (or disappears) in the mix, which you can't tell from a solo'd instrument.

Only 16GB RAM?

I'd ask this question over at the Sound on Sound forums.

I've also had problems with parcels not delivered by Amazon, with weird tracking info saying that they had been delivered or attempted delivery when they had not. Or just not delivered at all. Unless it's something that is unavailable by any other method, I won't be ordering anything else from Amazon unless it is supplied and delivered by them. Also the real-time tracking is weird since it only appears to work for Amazon deliveries and only on the app, not on the website...

No. My sister is totally tone-deaf and has crap taste in music.

If you'd selected the "paste as plain text option" after pasting your copied text into the post window you could have got rid of the black background. BTW I used to own the Manne Mandobass.

Not entirely right depending on the mixer in question. In fact using an external mixer along with a separate interface, to record and monitor with, is the most effective way of avoiding having to deal with latency. All my home recording has been done this way. However you will need one with more routing options than just stereo outputs, and maybe a bit of lateral thinking. To the OP do you already have the mixer? If so what is it? Also how many separate non-mixed sources do you need to record at any one time?

Strangely enough ZZ Top's beards are so ridiculously over the top that they negate my "no beards" rule. However that only applies to the days when Mr Beard himself was clean shaven. Since he went a grew himself a pathetically crap beard, I've lost interest in their music 🙂

I like what I like and don't really try to analyse it. Familiarity has a lot to do with it both positive and negative. Having to learn how to play a lot of "classic" rock songs for my Dad Rock band many years ago has left me not wanting to ever listen to some of those songs again, despite that fact that I always had time for. them before. OtOH I find myself getting into music from my past that I didn't previously like because it has been seeped into my subconscious through films and TV programmes (and occasionally ads). However as visual person image does have a lot to do with it. I grew up in an era when the best (IMO) rock and pop bands looked different, dangerous and exciting. and I find that I don't have time for artists who don't (or deliberately look like they don't) make an effort to project an alternative image to the mainstream. I most certainly don't like musicians with beards. No real reason other than I think they look scruffy. If you sport a beard your music needs to be significantly better that a similar band/artist that is clean shaven. Also I can't stand unplugged/acoustic music. You can 100% blame my parents for this, as they put so many obstacles in my way to being able to own and play electric instruments, I will hate nearly all acoustic music forever.

If he actually like the music that he plays, then IMO his taste is pretty terrible.

No idea what the real bid is unless someone here is prepared to put in a counter bid and see if they are the highest bidder. All meaningless until the last 5-10 seconds.

For non-specialist instruments like the bass in question the starting price is almost completely irrelevant. Unless it starts at a figure more than the bass is worth, by the time the auction has run it's course the selling price will the same whether it start high or low. The factor that will keep this particular auction sale price low is the fact that it is collection in person only (from Hull).

Power soaks are a great idea for guitar amps, but generally less so for bass amps. I see this one is supposedly rated for up to 150W, but I would check with the manufacturer for their recommendations regarding power handling when used with bass guitar frequencies before connecting it to any bass amp. Be aware that overdriven valve amp sounds are a combination of pre-amp valve saturation, power amp valve saturation and speaker break up. IME speaker break up is more important to the overall sound than power amp valve saturation, and as soon as you take this out of the equation, you may well be disappointed with the sound you are getting. Although the Ox Amp Top Box includes speaker emulation, all the models but one are for guitar cabs and combos, and none will come close to the sound of the B15 cab. Again be prepared to be disappointed. One final thing to consider is cooling. These devices attenuate the power being sent to the speakers by dissipating it as heat. Even a 25W guitar amp into a power soak/attenuator will generate a lot of heat - often more than the valves themselves. I used to run a guitar combo in a Marshall PowerBreak, and many of the (guitar) sounds I used would cause the rather noisy fan to kick into overdrive in order to keep it cool. After a typical 45 minute gig the the top panel PowerBreak would be almost too hot to touch. Ultimately the only way to find out if this particular device is any good for you is to try it out yourself. However I would check with the manufacturer that they are happy for it's use with your particular bass amp before proceeding.

And no matter how bad it is. it won't be as bad as the inside of Mr Venom's Shure Super 55!

Collection in person only. Always keeps the price down.