bennifer

Anyone interested in a Citronic 31 band graphic equaliser? Its 1u rack format, 31 sliders giving either 6 or 12 db cut/boost. Single channel, accepts XLR and Jacks in and out on the back. Good condition, just the normal slight rack rash. Really decent EQ unit, i've been using it to track vocals in my recording setup but its also been handy adding some very specific EQ to my bass rig too.

After £60+post, cos it was £120 new. I live in Camberley, Surrey, if local collection is your thing.

If you've still got it when I move up to uni in Lincoln again in mid Sept, i'll drive over and grab it it, so consider that a backup plan if you don't get it sorted before then!

Very interested in the Marshall 4u rack case. I just happen to have a grey covered cab as well! Unless you're up for posting, i'll be in Lincoln this weekend if you're near there...nearer than nottingham I mean, and then in Lincoln again around Leeds fest time. Thus could do a mission over to you in Notts towards the end of this month. Could pay in advance if that helps. B.

If it was a 2x12 or 2x12 i'd suggest getting a metal flightcase for the cab and then pop it on top of that to raise it nicely, and also protect the cab while in transit - a 4x10, that might make that idea take the cab a bit high

To make it fair you need to keep as many things the same as possible... So yeah, same playing, as said above, ideally out of a loop station or phrase recorder or something so its identical. Same position of amp in the room and same micing position, ie on/off axis, near, far. Maybe do each amp with its settings flat, and then one with the settings in what you personally consider to be optimal positioning for you? Not all amps sound perfect flat so I can't see the issue with doing a 'tweaked to perfection' version.

Indeed, it depends really how you practise and how tight you are. In my projects half of the practising is often done with no vocals, concentrating on getting the instrumental side really solid. As far as recording, i've always been fine tracking drums first to a click either totally blind, or with a bass or guitar guiding me through. But it kinda depends on you, the fact you've flagged it up suggests that you may think its going to be an issue based on the way you normally practise?

PMed. I'll be driving back through that way on sunday...

haha, bloody hilarious. me and my guitarist are always joking that we're gangstas, I'm certainly going to print out the picture of the dog pound and stick it up in the practise room.



But yeah, my mum and dad are the types that like to leave the plastic wrap on to make sure something doesn't get scratched. Didn't work on the kettle when the plastic wrap melted onto the sides of it though...

Who gives a sh*t? It looks cooler with the bigger driver on the bottom of the stack, and thats all that matters!

[quote name='Welshbassist' post='247374' date='Jul 24 2008, 10:57 PM']Oh and another thing, the sweet spot changes all the time, as sometimes you pluck harder, and other times you pluck weaker. I find i play MUCH harder live so I turn my input gain down before the gig! Obviously, a good dose of compression will fix this![/quote]
Just to clarify on that fact. Compression won't help if you're already overloading the input stage - it'll still be distorted! However running the amp at a slightly low preamp gain level and then hitting a compressor will achieve a much more workable result ready for the power amp

What kind of contract are you talking about signing here? One between you and the promoter?

Most valve amps get very unhappy if they have nothing plugged into their speaker output. I'd look at plugging the speaker output of the Hartke into the speaker of the combo - you might have to solder up a jack plug to that speaker yourself to do it. Not exactly remotely difficult though!

That said, good luck getting a matamp any time soon, haven't they got some crazy amount of back orders?

Also, I still constantly come across extreme bargains on ebay and take advantage, I don't think its dead at all!

Bump for getting away from mouse clicks and adding a real mixing desk feel to your DAW.

Just decided to pop my spare lexicon rackmount mpx100 effects unit into my effects loop. I originally bought it for my recording rig to use to add decent reverbs during tracking or as a monitor mix, etc... which it does very well, but as I don't have any pedals or anything thought i'd try it with my bass.

Its got some really nice delays, and some interesting pitch based effects too - anyone else got this unit and got any fave settings they want to share? All I need to do is grab a footswitch to plug into its footswitch port and i'll be sorted.

Certainly at pretty much of all of the big name, big touring band gigs I've been to, and thats a lot, the bassists are 99% running a load of rack gear - preamp, power amp, compressor, sometimes a pod, yeah. Not just a simple basic head.

[quote name='peted' post='239026' date='Jul 14 2008, 11:30 AM']I'd never heard of that term before, thank you. Perfectly describes the Warwick marketting strategy

Also works for Apple and the IPod and Macs (there being better and cheaper products out there, but people still insist on paying more for Apple stuff).[/quote]
Is slightly different - not wanting to get into a mac/pc debate, but a lot of the cost must go towards the constant development of the in-house OSX operating system, which in turn gives you the ability to run all of the wonderful Mac only apps like Final Cut, Logic, Shake, etc... The components used may be the similar but the implementation different enough that the end result to the user is quite different.

In a mission to afford a bass related product, i'm attempting to raise some cash rather quickly. Anyone interested in this fine Presonus Faderport control surface? After £80 for it, inc post. They sell for about £120 in the shops and £100 on ebay from what i've seen. Basically works with cubase, logic, etc and gives you a motorised fader for whatever channel you have selected. Lets you write automation by hand rather than clicking a mouse (tedious!), and also has play, stop, record etc transport controls. The fader jumps around to whatever it is set in your software on that channel, which looks really cool too, haha.

Info:
[url="http://www.presonus.com/products/Detail.aspx?ProductID=2"]http://www.presonus.com/products/Detail.aspx?ProductID=2[/url]

Looks like:


If there's interest, i'll get a few pics later on. Its perfect condition and all in box, with cable, power supply, etc...

Totally, even though the ipods are pretty solid mp3 players after their countless revisions, i'd still be taking 2 identical ipods to any remotely serious gigs just as a backup incase one dies.

I'm mainly a drummer and a little bit of a bassist. Its a tough situation - one band that plays to a backing track very succesfully around here is spectrum7 - www.myspace.com/spectrum7

Check it out - synths and stuff, very gameboyesque. They have a laptop running cubase, with the backing track w/click being sent to their drummer. The backing track without click is sent out to the FOH system. The guitarist/bassist/singer get just the FOH sound coming through, no click - the drummer has to keep in time. Their key is having a very good drummer who is well rehearsed and click confident. But yes, the problem is that you can't mess with the song at all and its rather rigidly structured that way. In my own experience of trying this, well, you just need a lot of practise, i'm getting really good at playing with a click/backing track but still not perfect.

And yeah, as mentioned, another way is to use sampling pads but again they are in a set tempo so if by the time you get to the parts where you trigger these samples, the tempo has sped up, they won't fit the phrasing and speed of the song. Pain!

If you want to try the backing with click system you need a few basics - a simple audio interface with 4 outputs and a headphone amp built in - something like the Presonus Firebox would suffice. Route the version with click to the main outs, and the drummer can run off of the built in and very decent headphone amp, then the FOH mix out of outputs 3-4 and into the live desk.

Best of luck with it on ebay mate! Its exactly the kind of thing i'd be driving to come and get if I had my big payday now rather than a months time... stupid new pay structure screwing me out of money... grr!

Any crossovers anywhere in the system? Normally you'd have some system in between the speaker outs from the desk, and the speakers, to split the frequencies - the highs and mids through the hi range speakers, and the bass end through the sub. If the sub isnt working hard, and the regular speakers are giving full range output, thats not ideal - you want to be able to drive the sub seperately, so you dont blow the hi range speakers out, and so you can turn up the sub to pump the bass higher.

Yeah, as I understand the DSP built into that focusrite unit is an effects processor, basically you get a set of plugins that tye into logic, cubase, etc, but instead of taxing your computers processor and other resources, it gets handled by a processor in the focusrite unit, thus easing the strain on your computer. Quite handy, if the plugins are any good, think of it like a cut down version of focusrite's liquid mix add-on.

I haven't ever used hydrogen but i'd expect you can bounce a track out as midi. Just drop that in cubase and assigned a drum synth to it and it'll work fine.

I wouldn't bother with getting reason though, the sound in it are so cheap and nasty!

[quote name='budget bassist' post='233205' date='Jul 5 2008, 04:14 PM']i know someone that's played with enter shikari back when they were less known (and still utterly crap), though i can't remember who supported who.[/quote]
haha, funny you mention Enter Shikari. I used to work with a mate doing gig promotion and we put them on a couple of times, just before that summer where they suddenly got really famous in the emo circles. Totally sold out the gigs, which was nice for our pockets, but what a bunch of complete w***ers they were to deal with. Having dealt with quite a few bands through promotion, and also doing stewarding it is apparent that they were a bunch of total arseholes in comparision to anyone else. Always a sore topic when any mates bring them up in positive favour...