jensenmann

Depending on what you want to do and how deep you want to get into an FX machine you should give the TC Fireworx a try. This box produces crazy sh*t if you take your time to dive into it. Personally I´ve been using a TC2290 for a long time for chorus, flanger and delays + it has five switchale FX-loops inside where I had a bunch of other pedals inserted. Unfortunately these delays are no more made and still very expensive (>1000€ on the used-market).

John, you should consider to replace the two red Roederstein electrolytic caps in your electronics with new ones. They are the worst caps ever made, very unreliable and prone to failure. They have been used in a lot of audio gear and VERY often cause trouble, esp after more than 20 years of use. cheers Jens very nice bass, btw

If I had no clue I´d better have someone else mix it and sit beside him to learn what he is doing. Then I´d try it next time myself. (no offence!) And if your "engineer" lost files in a HD24 then he´d better not call himself engineer as this box is very straightforward and easy to use. Maybe he did other mistakes in recording bad signals, too low signals or whatever what will give you headache now. but this doesn´t help you in this particular case. How about this one: start listening to two instruments and ask yourself these questions: does the dynamic behaviour of these instruments fit together? if yes, then add the next instrument, if no then use a slight bit of compression to make them fit better. Are both source delivering important information in the same frequency range? If no, then cool, if yes then a) try to pan them apart decide which one is more important and cut this frequency area in the lesser important instrument using EQ c) use both a) and techniques. Then add the next instrument and go through the same questions. Always use a little less EQ/Comp as would make it obiously recognizable. As a beginner you´d better use auto compressors because then you will do less mistakes in misaligning compression parameters. Use lower ratios of compression (2:1). hope this helps good luck btw there are professional studios for some reason ;-)

[quote name='wombatboter' post='380443' date='Jan 14 2009, 06:06 PM']No problem, Oliver....I change basses so much that I totally understand. The midi-Wal is not the easiest thing to master and certainly involves a huge challenge. I was not able to use it in a band situation. Sixstring is too difficult for me but good luck with your collection ! Give my regards to your charming girlfriend too...![/quote] Believe me, your Midibass is in good hands. I´m totally in love with it. It´s like a dream has come true. I´ve been looking for a Wal Midibass ever since they have been released. At the beginning I couldn´t afford one and later they stopped making them. But my heart aches quite a bit because the sixstring Oliver got from me in return for the Midibass is a wonderful instrument with a killer tone. I fear now I need to get a Wal fretless again

[quote name='AndroWal' post='373771' date='Jan 8 2009, 06:41 AM']Jens, Thank you for the offer. I think my Wals will be instruments I hand-down to the next generation! I am thinking about a couple of Wal 6s and am on the list to have them made by Paul Herman. I am awaiting pricing info, etc. My thinking goes back-and-forth about 6s and whether I really need or want them. The fretted would be great for chord-playing and both just for range and ecomomy of movement, but then I think...hmmm...I can do just about all of it on my 5s. Also, once comfortable and used to the 6s, would I want to play my 5s? What is your experience with this? Best, Andro[/quote] I´m playing so much more on my fretted MachII-5 that swapping to the 6string feels strange to me. I´d prefer to have the same handling for fretted and fretless. For solo noodling the 6th string is great, though. Especially on this particular instrument. It sings. cheers Jens

[quote name='AndroWal' post='372700' date='Jan 7 2009, 06:26 AM']Thank you! Wals have been my main basses, and mostly the fretless Mark II, since 1991. Currently I'm using the Mark IIIs more as they are lighter and easier to handle for longer periods.[/quote] Hiya If you want to trade, I could offer you my sixstring Mach III fretless in exchange for your fivestring Mach II. Let me know if you´re interested. I think I posted pictures of mine earlier in this thread. cheers Jens

At home I practice with a SWR Baby Blue into a pair of JBL Control1. There´s barely any lowend coming out of these speakers but mids and highend are great, very controlled and audible when playing with CD or Computer. Less lowend means less trouble with neighbours. Anyway, I´m out of the age to practice loud (but in case I need to I still have my big studiomonitors with 4x15" :-) Small practice amps never did it for me. They always sounded too midrangy, muddy, cheap..... So I can second stingrayfan´s opinion. A little mixer and studiomonitors will do it plus you get a bunch of cool features with a mixer.

get yourself a cheapo HD recorder, something like Boss BR 1200 or similar

[quote name='stacedabass' post='309887' date='Oct 19 2008, 03:24 PM']Bootsy Da Man!![/quote] I remember that a friend told me about this show. He worked for the PA company over there. They were getting a little nervous when they saw all those basscabs rolling in. Bass must have been pretty loud on stage....not the worst thing, though

I did D&B stuff in the 90s using Boss OC2, DOD envelope filter, Ibanez TS9 ( for whacky bassless distortion sent to OC2), TC Chorus/Flanger pedal, TC 2290, Lexicon Jamman

A lot of transistorized instrumental amplifiers suffered from poor electronic parts or poor electromic design. But this gave them a distinct sound. So if you want to sound like 70s get some of this equipment. Acoustic or Kustom comes to my mind. ... If I transfer this expierience to 2000 gear I´m asking me what will people in 2020 think about nowadays??? ("I need to get the bass-pod MKI first series with# below 666 for the sickest XXX-sound. That´s real vintage, hehehe!"). Maybe, who knows what time will bring.

nice shoes, I got the same

Well, Alex, my facts were correct, at least until times when I stopped caring for the latest speakers in the nineties. The scene of instrumental speakers that times was getting empty compared to PA speakers which simply didn´t do their job for instruments well. So probably you´re right when it comes down to ultra modern speakers - I stand corrected. Anyway, I still have to hear the modern 15" cab which does the same that these old JBL speakers do to me.

You should try a 2x15" with JBL D140 or K140 speakers as used in the ole Fender cabs. Forget about all new 15" speakers in conjunction with tubeamps. Old speakers were made to have high efficiency which was paid by lack of lowend. Todays 15" speakers are tailored to more lowend which give them less efficiency. Old speakers had worse material for the cones so they generated a lot of presence because paper at these times could not damp membrane resonance very well.. Modern speakers have highly damping cone material which doesn´t generate that much presence and hence sounds boring or indirect. hope my humble english is understandable

Ampeg B15 or Echolette BN40 tubeamps with 30-40W were the smallest thing I giged with. Usually I prefer 10x the power of these old suckers. But for small pubs I still love my B15