roman_sub

Bought pickups+ preamp from John, all fantastic. Thanks

bought a strap, all good, thanks!

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.

Thanks Skol303. Here's gentle (and very occasional bump) :-)

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....

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 ;-)

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!

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.

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

+1 Tim is one of the best

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

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

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

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...

You could also try splitting the signal into clean and dirty digitally - there are plenty of good plugins that can simulate the distortion pedal. Common practice is to keep the pure low end from the cleaner DI, and grab the mid-range grind from the 'distorted / amp channel'. If you want add an analog drive pedal but also record clean sound, you'd need to put a DI as the first thing the bass plugs into - then record that DI, and then mic up the amp. The amp signal will be some milliseconds later than the clean DI, so will want to check phase alignment between the two. Check if it sounds much better with phase polarity button in / out as a start, and if you really want to get deep into it, you can play with time-alignment of the waveforms in the DAW.... alas, I digress. Personally I wouldn't double track bass as was suggested above - in 99% cases, bass would be panned straight down the middle, so overlaying multiple performances would likely give a less tight sound as result of timing/performance differences (however slight).

Yes just get him to bounce down the individual WAVs per song; just making sure they are exactly the same length (start/end at same point) - then anyone can work on them, with any software. may be best if these are exported without any processing. i would be willing to work on the mix, if I could have unprocessed WAVs - pm me for details.