PapillonIrl

Mono Drums do indeed rule. Do a search for 'Glyn Johns Method' and 'Recorderman Method'. Some world-class drum sounds can be got with three mics.

Just out of interest...does anybody know what other jazz-style basses are made with a natural finish, with maple neck, black scratchplates and black blocks ? (Tell me if this is OT, OP ?)

[quote name='alexclaber' post='446787' date='Mar 27 2009, 12:33 AM']Large diaphragm condensers work great on bass amps in the studio, I've got some fantastic sounds with mine when I was running a ton of effects through my Acme rig. Live I think you'll find an SM57 goes plenty low enough and high enough and is close enough to flat to accurately capture the relatively limited bandwidth of your TE combo. Some of the more expensive options go quite a lot lower but what's the point if your amp isn't producing any sound down there? Alex[/quote] Agreed...I have got some of my best cab sounds from tube condenser vocal mics. If you also need a mic for tracking vocals, this might be a good direction. You probably won't be able to use a mic like this on stage though, if that matters.

[quote name='51m0n' post='445713' date='Mar 26 2009, 09:38 AM']Again I'd point out that its a sound engineering no no to eq the bass and kick drum the same. They just compete with each other in the mix if you do. Therefore using a 'standard' kick drum mic (AKGD112 or whatever) is often a bad plan, they have serious amounts of built in eq, usually that doesn't favour bass in a mix (they suck out a tonne of mid around 300-400Hz and boost around 80Hz and as high as 2KHz). You are in fact often better off in the mix if you use some thing as simple as an SM57 since it doesn't have that 80Hz boost and heavy low mid cut. The reason the Senn MD421, EV RE20 and Heil PR40 are so good is that they have very good extension into the low frequencies without huge peaks and troughs. A lot of big brass mics work fine as well (Audix D4 is pretty good too I think). Put it another way, the engineer will likely have to eq the heck out of a bass sound captured with a kick drum mic to make it really work [i]in a mix[/i] where as with the aforementioned mics (and even an sm57) they wont. Doesnt matter what you think the less eq you have to use to capture a sound the way you need it the better.[/quote] +1 Would add the SM7 to the list though. Good dynamic mics are your friend in less than stellar rooms. Would like to try the RE20, as I struggle with proximity effect sometimes when getting as close as I need to reduce kit bleed with the SM7. The RE20 has some sort of voodoo to counteract proximity effect I believe ?

Shure SM7b is great for this. I would look for a used one. Doubles as a great vocal mic, amongst other things. Many kick drum mics are scooped around 300-600hz and are unsuitable for bass cab micing.

[quote name='basswesty' post='411682' date='Feb 17 2009, 07:45 AM']Listen listen and listen then listen some more through a good pair of cans. You'll be amazed at things you might have missed... They might be small but they might be really important. [/quote] +1 I like to run my Mp3 player and my bass into a small mixer, and use the best cans I have (Senn HD600). Usually no need for drastic eq'ing once you can hear in enough detail.

His name is Bond.... Brian Bond I'm sure he won't mind me posting his name here, seems like a good guy. You can PM me for his contact details or reach him through Flightline UK I imagine. Nathan

Ok I got to talk to somebody who seemed interested in solving my problem. He is the tech that Eden's distributors (Flightline) in the UK use for their repairs. Nice guy, and a muso to boot. He is located in Camden, where it just so happens I will be staying next weekend as I have a couple of gigs there. I'm thinking the best thing to do is to bring the amp with me then, and he is even ok with picking it up from my hotel ! The advantage is that Flightline will source and pay for any Eden part's needed and get them to him with the quickness. Just thought I should post this in case it helps anyone in the future. I will have to pay the labour costs for repair, but parts (if needed) will be supplied by Flightline. I have been advised to try and hit the original retailer for the labour cost, somehow I think that they will be less than receptive to this. :-) Bear this in mind when buying amps in a different country ! Cheers all, Nathan

The UK distributor referred me back to the retailer...who is located in the U.S. This shouldn't be this difficult. Are U.S. retailers really expected to service amps they sell to overseas ? Will my warranty be invalid if I get a non-Eden guy to look at it for me ? Anybody know an Eden service center in the UK ?

[quote name='BassBod' post='407506' date='Feb 12 2009, 12:30 PM']My old WT300 went into thermal shutdown whenever I ran into 4ohms. Overheated (with fan) on any gig with a noisy drummer, but was generally fine into 8ohms. I recall something about the fan working better if it was sucking rather than blowing...but I never got it sorted 100%. I think (like the similar SWR's) they run hot by design and you've just got to be a bit careful about pushing them too much. All that said, I'd get yours to a good tech to check the fan/switch etc as I would only expect it to shutdown in pretty extreme circumstances, and should reset after a few mins.[/quote] Thanks....interesting. Maybe it isn't a thermal shutdown actually....it definitely isn't resetting itself. Nathan

I am wondering if there is some sort of 'reset' for this power-amp thermal shutdown malarkey on Eden amps ? Cheers, Nathan

Hi all, Just thought I should post this here in case anyone has experienced similar issues. I have had the Wt550 about 5 months, and it has performed very well in that time. Sounds great, and seemed very durable and well built. A few days ago a good friend of mine was performing with this amp, as he was thinking of getting one, and mid-song, the amp seemed to lose power. I have had a look at it, and have run the problems by the guys on the Eden forum, and the general consensus seems to be a themal shutdown. Here is a description of the problem. 1: Very low power to cabs, as if only preamp section was working. 2: DI out works, as does the EQ, PAD, Enhance, and headphone out. 3: No strange noises, DI out sounds normal. 4: My friend did not report any overheating when this occurred, but it is possible that the amp was warm. 5: Problem present after changing valve, fuse, speaker and instrument cables, cabs, and bass. 6: Fan appears not to be working...I have used a hairdryer on the thermostat to check. 7: I [i]think[/i] the fan was woking before this gig. Eden recommend to get it to a certified tech, but I don't think there is any on Ireland, I'm still waiting to hear back from the UK distributer Anybody work on these amps ? Specifically on the thermostat ? Any other ideas as to what it could be ? Thanks, Nathan

[quote name='attackbass' post='392996' date='Jan 27 2009, 06:04 PM']Played the Windmill years ago in my old band as a secret show. It's basically a pub from what I remember with a pretty small stage. I thnk from what I remember the sound was ok - nothing spectacular but it was good. It was about the time bloc party jsut broke out and I can remember they had done a similar thing. In terms of backline - i'd bring your own, I haven't been to a venue ever where they have supplied backline that was of any quality. Crowd/Industry - It's unlikely that there will be any industry people there unless you have either invited them or they go to that bar or pub on the offchance. Same goes for crowd, especially london... people don't tend to go to gig when they don't know the band, unless they're there for a drink/night out or are there to see the support acts - best way to get a crowd is to message your fans on myspace from london and get them down there. Also playin twice in London back to back can affect turn outs sometimes. Hope you have a good gig and the turn out is good.[/quote] Thanks. Bringing our own backline is not going to happen this time round, as we need to travel by plane in order to meet other commitments (we're based in Ireland). I think I might start another thread regarding backline rental outfits in London... Nathan

[quote name='cheddatom' post='392667' date='Jan 27 2009, 12:56 PM']We played the Fiddlers Elbow twice near the start of last year. We were told we'd have to bring 15 people or we'd be charged!? But we knew in advance so just got plenty of mates in. That was the first gig. The 2nd gig we had already passed the test but and mates didn't want to make the journey again. There were around 15 people in there, which as small pubs go (played a lot of them!!) isn't too bad. I very much doubt you'd ever get any record execs in there. From what I remember the PA was OK for vocals, I don't think he mic'd anything else up. The soundman was friendly instead of the standard c***. We didn't share/borrow any backline. Anyway, it wasn't too hard to get to, the sound was great on stage (probably down to us more than him) we went down well, no hassle, back home for a victory smoke by 1am! (I did actually hit a fox on the way home which cause £1500 worth of damage to an A4 estate, but that's got nout to do with the venue)[/quote] Vocal PA support only ? How big is this stage ? Will it accommodate a 7 piece band (inc. keyboard rig and 4 piece brass section) ? Thought this was a bigger place. Cheers, Nathan

[quote name='Toadonroll' post='392601' date='Jan 27 2009, 12:03 PM']Tricks to get industry people down there : Trendy haircuts, tight jeans and don't tune your instruments![/quote] We fail on all counts. Thanks, Nathan

[quote name='Musky' post='392538' date='Jan 27 2009, 11:12 AM']I've played the Windmill a few times. It uses out of house as well as in-house promoters so obviously the billing can vary, but whenever I've played there it's been reasonably well matched. I'm struggling to remember what they used for backline which kind of suggests it didn't blow me away. The PA/engineer is ok out front, but last time I played there the monitor mix wasn't brilliant - probably because we didn't get a soundcheck. Vibe is good IMHO - it's a smallish venue, and being long and narrow encourages punters to the front if they want to see you. The Windmill has a reasonable reputation as a venue, with some decent small bands with a bit of a buzz playing there - enough to encourage people into the wilds of Brixton anyway. But like any venue in London there is no walk up crowd (well next to none anyway) - it's the bands that pull in the crowd, not the venue. As for tricks to get industry people down there, they are the same as pulling in punters. Realistically, you're not going to get any industry types there unless they've heard of you and think you sound interesting.[/quote] Thanks for that mate. Anybody played in the Camden venue ? Cheers, Nathan

Hi all, Will be heading to London next month with the original outfit I play with, and we will be playing the above venues on the 21 and 22 of Feb. Was curious as to whether any of you folks had any experiences of these venues to share. Particularly: House engineer Typical audience numbers Quality of billing Vibe Stage sound/monitor mixes House backline quality Tricks to get industry people down there Thanks in advance, Nathan p.s. here's the [url="http://www.myspace.com/shanebarryofficial"]band[/url]