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    Redhill / London

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  1. Roman, not sure if my PMs are getting through - did you get my reply to your enquiry about the strap I have for sale?

  2. Gentle bump - happy to take on any post-production (mixing / mastering), location or live recording, or FOH live mixing. Most recently I have been doing live sound at Blues Kitchen in Camden and assisted on recording on one of the finest UK choirs, Choir of St John’s College, Cambridge. Hit me up with any projects please.
  3. roman_sub

    Vox AP2-BS

    Very nifty little practice tool
  4. Thanks Skol303. Here's gentle (and very occasional bump) :-)
  5. roman_sub

    Playing fretless bass?

    I wouldn't advise that approach, as you'd just a wobble around without a centre pitch. That may work as occasional effect but don't over-rely on it! You need to train your ears to hear intervals and know what the note you are playing is supposed to sound like. There is no substitute for accurate pitching....
  6. roman_sub

    Couple of questions about Sonarworks

    Good points, and I bow to superior knowledge of acoustics! Though I think whether speakers are front-ported or rear-ported may have an effect on how close to the wall you'd want them... Perhaps I was overstating effects of furniture, somewhat ;-)
  7. roman_sub

    Couple of questions about Sonarworks

    My current music production space is a former bedroom of a rented house! Bass traps are held in place with very small nails / picture frame hooks. it took about a day but achieved a very significant improvement. It's still not a great space for mixing, but between headphones and monitor speakers, my mixes translate exactly as I'd expect them - so can't really ask for more.... Whilst it's a massive subject in itself, I'd start room treatment by moving speakers so they sound as good as possible (probably would help to have some space away from the wall in most cases, triangular position with the listener, symmetrically positioned about the room).... a sofa behind the listening position will help as bass trap, as would a book case with randomly filled books (as a diffuser). I'd see if you can attach some lightweight acoustic absorbers behind speakers, on the side walls and to ceiling above listening position... imagine you had a mirror, and everywhere the sound would hit a wall once and glance back at you should ideally have an absorber. That will take care of first order reflections, which are most troublesome. You may find some improvement with sonarworks in an untreated room, but it won't make your mixes sound better overnight, and I'd bet you'd end up exchanging one set of acoustic problems for another.... so save your money and work on the underlying problem of your room acoustics!
  8. roman_sub

    Couple of questions about Sonarworks

    IMO headphone correction software is somewhat self-defeating as a concept. A properly-designed set of monitoring cans will already be optimised by the manufacturer to be as 'useful' as possible, within the limitations of the drivers / materials being used! If you don't like how the headphones sound, it would be better to get headphones that you do like... After all, headphones just show a part of the picture, e.g. it's very hard to judge some things (mix width/depth/reverb/etc) on headphones alone, and they'll never tell you everything you need to 'know' about a mix. Get used to what music sounds like in the particular set of headphones and move on. I've used both ATH50 and DT880Pro for mixing. I liked both, but ATH seemed somewhat hard in the upper mids, and DT880's are a tad mushy in the low mids (though more natural overall, maybe more revealing). ATH had better isolation.... but probably DT880s would edge it for mixing. I'd recommend Sennheiser HD600 over both - THE headphones of choice for many top classical recordists, plus many others - though some may find them 'boring'... Maybe you've already done this, but I wouldn't reach for any room correction software until you've spent some time and effort sorting out the room itself, y'know, with physical acoustic treatment, optimising speaker positioning, etc.
  9. Hi guys I hope this short plug is allowed (mods: do PM me if there is a better forum for this...) I am now running a location recording production company - my gear, services, etc are all on www.romansound.co.uk I can record live gigs from the mixing desk (with/without additional room mics(, or do a complete microphone set-up (e.g. for acoustic gigs). I can also travel to a location of your choice, e.g. your rehearsal studio and do a recording there. I can provide all required, professional quality, equipment. Equally happy to work with live, or 'studio session' environment - at the location of your choice :-) Basschat is a great community so happy to offer discounted deals on my usual quoted rates - PM me for details. I can also do editing, noise-repair and mixing of your existing tracks. Please hit me up with any projects! Cheers Roman
  10. roman_sub


    +1 Tim is one of the best
  11. roman_sub

    Spector Knobs..

    try contacting these guys, https://www.partsisparts.net/catalog/spector-euro-bass-knob-euroknob Or PM if you just want one, I might have a spare
  12. roman_sub

    Mackie Onyx - bargain USB audio interface

    Onyx pre's are supposed to be pretty good for the money, nice n' clean :-)
  13. roman_sub

    Sold Xotic BB Bass Preamp now £100

    Super pedal! Glwts
  14. roman_sub

    Coffee table

    https://www.ebay.co.uk/itm/Bass-Drum-possible-coffee-table/202368653623?hash=item2f1e1c9937:g:MfcAAOSwtrJbSJgn Wonder if he's got any metallic 'plates'?
  15. roman_sub

    Split signal recording

    I wonder if we're talking at cross-purposes. Double-tracking of performances is a good idea as you can select best performance for each section, try a few different licks, etc. This also gives an insurance option, eg if one take is suddenly affected by noise or dodgy cable. You'd select a single take per section, most of the time, though - unless you really want a less defined mono / some sort of stereo-panned bass sound... Recording multiple sources, during the same performance (DI + amp etc) is also a great idea as it gives options for the mix; many rock bass tones are a combination of several sources. What I meant is that doing several passes using two different sounds e.g. combining take 1 of clean bass with take 2 of distorted bass over the same section of music, may not be as good as capturing both clean and distorted at the same time. Most of the time, the timing / string attack discrepancy in performances would be an unwanted artefact. That's not to say that some songs don't have a fretless P via DI in verse, whereas chorus is a picked Jazz through an amp... or even blend of the two. Just trying to be realistic here...