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SubsonicSimpleton

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  1. The H2N is a great self contained hit one button and forget about it recording solution - to get the best out of it, the most useful accessory is the screw in tapered handle which allows it to be used with a regular microphone stand. The accessory screw size is the same as the ones used on DSLRs and camcorders, so if you already have a camera tripod you could use that.
  2. If you know what you want soundwise, it might be worth considering buying an amp that has been built using old fashioned turret board and point to point wiring (or building one yourself) - most modern valve amps are built using components mounted directly to PCBs and although they sound great when working properly, they can be problematic to repair due to the relative fragility of the pcb traces. I have a fender superchamp XD which I bought used, huge range of sounds available, very portable, you can disconnect the internal speaker and conect it to an extension cab(8ohm min), I would be singing its praises almost unconditionally, but a week or so after I bought it I dropped in on a mate who had built a homebrew amp based on the champ 5F1 circuit with solid state rectification, and added a baxandall tonestack and master volume and it was really on another level, no high gain tones on offer and no effects, but sounded great both with bass and guitar whatever you did with the controls.
  3. Bear in mind that there are several reasons that you may find your current bow uncomfortable; - there are no absolute standards on weight/length/balance point which can make different bows within either style feel very different - there is no standard in human physiology or individual preference which means that you might actively dislike a bow that I love - the source of the discomfort might be more about your personal approach/technique than the bow itself (input from a good teacher is really useful in identifying issues with posture or excessive tension) I play french grip, and have played many more bows that felt uncomfortable than ones that felt like they were not actively fighting me, and a couple of my DB playing pals have made the switch in the opposite direction to you and found relief from shoulder issues by switching from french to german, although in one case he found that the majority of available german bows were on the long side and ended up with a fairly inexpensive student model with a shorter stick which he loves. Before you jump ship, find a teacher who plays german grip (if you dont have one already) and try some other german bows, so you can remove some variables from the equation - in the meantime check out Edger Meyer, Craig Butterfield, Paul Chambers and Gary Carr if you are debating with yourself about one grip having an advantage over the other.
  4. Studio can cover a whole range of potential scenarios, between a basic undivided space where you might set up a computer and record vocals/acoustic guitar with a mic, DI guitar/bass and use an electronic drumkit to feed midi data to your DAW, versus attempting to multitrack multiple loud acoustic sources (drums/cranked amps). The cost of any buildout is usually way more expensive than you might expect if you are looking at your budget and eyeing the purchase cost of individual pieces of equipment such as monitors/desks/mics/interfaces etc. If you are entertaining notions of recording any loud acoustic sources, before you spend any money it is a good idea to conduct a real world test of how bad the noise problem is without conducting any soundproofing - realistically without a big budget, you are unlikely to reduce bass frequencies by much, so setting up looper into a bass amp in the room in question and then adjusting the volume until it is at an acceptable level in any adjoining rooms/properties will give you a reasonable idea of how loud you can get. Even if you spend money addressing obvious weakpoints for sound leakage such as flimsy internal doors and old single glazed windows, structural transmission of sound is much more difficult to address. The most cost effective way to address soundproofing is to relocate to a location where it doesn't matter if you need to be noisy, or address the problem at source rather than trying to contain it. In your position I would be thinking along the lines of basic PC + copy of Reason or Fruityloops + basic interface + basic midi keys + headphones as a basis to get however many people you could comfortably fit in the space making music without causing noise problems at minimum cost, and then have a edrum kit and a couple of mics/stands available as and when required (but not left out for unsupervised use).
  5. When you get better at any skilled activity, increase in skill level also increases your sensitivity to errors - you just have to keep putting in the work in your practice and learn to not dwell on the mistakes (it is quite possible that no-one else is noticing them or being affected negatively by them in the same way that you are). It is good to be critical of your own playing after the fact, but it isn't helpful to be listening critically while you are creating/performing, as you will get better results the more "in the moment" you are.
  6. Be sure to take your own bass and bow with you when you go shopping - although you might reasonably expect more expensive to equate to better, you might find that there is no certainty it equates to better playability or better sound quality even if the materials and cosmetic appointments are better. When I started looking for my first bow upgrade the lack of local stockists led me to be cheeky and ask other double bassists if I could check out their bows - I was very fortunate that they were generous and trusting enough to either invite me round to play through their bow collections or lend me bows to spend some time with at home. I found that on my bass the best combination of handling/sound was a Col Legno that had been rehaired with black hair, and that although some of the wooden bows sounded prettier (in isolation at least) none of them had a handling balance that I really liked. Comparing the Arcus(S4 I think) directly with the Col Legno on my bass I preferred the Col Legno both in terms of sound and handling, so even though I was prepared to pay more I ended up picking the bow I felt worked best for myself and my bass/strings. I quite like the directness of carbon/carbon-composite bows, but to my taste the Arcus was a bit too bright (although I do play on spiros, so if I were using a darker string the Arcus might have been more palateable). Be open minded and choose what is going to work for you and the music you like to play.
  7. In all areas of showbiz, top billing carries prestige - some headliners will be a genuine cut above and will simply be better prepared in all aspects, but some headliners are definately guilty of sabotaging their support in order to make themselves look better by comparison. Promoters and managers will usually pander to the egomanic that is laying the golden egg without exception or apology. Navigating the behind the scenes politics can be a bit tricky for support acts in situations where there are rock star divas in bands further up the billing(or frustrated rock star divas slumming it as in house engineers), best you can do in these situations is be polite and professional, play like it's the last gig you'll ever do and make careful note of the individuals you do/don't want to be working with in future.
  8. On the originals circuit you might not have the luxury of bringing your own amp on smaller shows unless you are providing the backline, on larger shows the soundguy will DI you and want to keep stage volume down. Reality for origininals bands starting out is short support slots or slots on multiple band lineups, in both situations you are unlikely to have the luxury of lengthy soundchecks, and stage space is likely to be at a premium - the most important thing is to rock out and put on a good show regardless, the easier you make life for the engineer and organisers the better. Bands where the bass is indistinct can have multiple reasons including room acoustics, poor EQ/FX choices on the part of the bassist, poor EQ/FX choices on the part of the other band members, poor arrangement of instrumental parts/voicings - the poor sound choice issue is often rooted in people being used to hearing their instrument in isolation when practising at home and then being unwilling to alter "their sound" to fit better within the overall sonic mix of the band. edit: @Cuzziebeat me to it
  9. My advice would be to wait and see how rehearsals go before buying anything in terms of amplification - if you can manage with the provided backline(that you'll be paying for anyway in the room hire price) then be thankful for the energy saved by only having to bring your bass in a gigbag. You always have the option to take the effects send on your rumble amp and connect it to the effects return on the rehearsal facility amp and use it as a slave.
  10. Will you be playing original music, and gigging on the circuit that caters to original bands, or will you be playing covers? Where will you rehearse, in a commercial rehearsal facility or will you be rehearsing in an environment where you have to provide everything yourselves? Where will you be storing your gear? Where are the venues you are most likely to end up playing, and are they easily accessible by vehicle for loading? If for instance you are playing all original material in a big city, you might not need an amp at all and putting your money to a high quality DI solution that gives the sound you want and can be fed into the efx return on practice room/shared backline or direct to the PA on larger gigs might be a better solution than an amp.
  11. Although Trace made a range of amps badged with different ratings, if you inspected the actual amp modules inside the heads you might just find that they had a practice of putting higher rated modules into lower output badged amps to meet production targets - economies of scale would have made a big difference to their bottom line, and it's important to remember that Trace were not manufacturing on the same scale as Fender/Hartke/Ampeg/Marshall.
  12. If you identify the riff variations, then practice them individually till you have them spot on, then practice swtitching between the different variations with a metronome until the transition is smooth, you will absorb the phrases into your own playing vocabulary and they will come out naturally after a period of time. In the short term, as long as you have a couple of the easier variations down it will get you through the gig - as @peteb pointed out having a handle on the underlying chords which form a simple repeating chunk of information is more important than trying to process a long stream of notes if you are struggling to retain the structure.
  13. Is the port really 8.2 cm tall internally? There is an enormous difference in port cross sectional area between the two porting suggestions, you could try plugging in a smaller number for the square port (either just the central portion, or just the two corner portions) bearing in mind that you can reduce the port cross section by adding material under the port shelf fairly easily. Really this needs some input from the forumites with more loudspeaker design knowledge than myself calling @stevie @Bill Fitzmaurice who can probably shed a more expert view on the port tuning aspect - the circular port suggestion has a much higher resonant frequecy than the square one, so there may be other factors to consider beyond taking the numbers from winIsd at face value.
  14. Your cab is already ported - rather than sealing the existing port and cutting a different shaped one, surely it would make more sense to tune the length of the exiating port appropriately. There are both commercial and DIY cabs that use slot ports, here is a link to the download page for the Fearful range of cabs which use slot ports, take a look at the plans and it should become clear how the slot ports are implemented. http://greenboy.us/fEARful/DL/ With a little ingenuity you could make a two piece shelf that could easily pass through the existing speaker opening (I would layer two thinner pieces of ply like this - viewed from the cab front) AAAAAABBBBBBBBBBBBBBBBBBB AAAAAAAAAAAAAAAAAABBBBBBB ..............S..........................S................ Both pieces (A) glued together beforehand into one piece, likewise with pieces (B), then you have a large mating surface to glue the two pieces together inside the cab. If you size the pieces so the long layer of each piece extends to cover both braces(S), you will be able to screw the port shelf down securely to dry fit and finesse the tuning before committing to fixing the shelf more permanently within the cab or glueing the two halves together.
  15. Might be worth having a lesson with a pro bass guitarist - they should be able to identify very quickly whether the root of your problem is instrument setup/your technique/other signal chain issues. If you are a beginner, it is quite possible that your understanding of setting up your instrument is flawed (I've rescued a number of intruments from bad DIY setup attempts). Take a look in this thread There may be a friendly basschatter local to you who would be willing to take a look at your bass with you - sometimes small adjustments can make a world of difference.
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