EdwardHimself

I thought you definitely had one set up on the snare and kick, I thought initially you may have just had one overhead mic until I heard the separation of the cymbals and I realised that actually you had 2 overheads or in this case one stereo overhead mic.

[quote name='Rimskidog' timestamp='1334437317' post='1616302'] [color=#000000]Thanks guys! Hearing that people are getting something out of this makes it feel worthwhile dealing with the admin involved in uploading pictures and penning updates. I'll have another one up soon.[/color] [color=#000000]In the meantime... it's funny isn't it. When you pay your builders first stage invoice. The day after it's rendered. And they immediately disappear. And don't show up at all. For two weeks now.[/color] [color=#000000]HOHOHO.[/color] [color=#000000]Not.[/color] [/quote] sh*t. I know who you need: Seriously though, hope they're back in there soon.

I reckon you have used 4 or 5. I certainly would agree that too many drum mics is overkill, to an extent, but at the same time you've got to be able to hear everything. I think ideally, I would want a snare drum top and bottom, one for each tom, 2 overheads, a kick drum mic inside and possibly a room mic if it was a particularly good sounding room. I don't tend to like hihat microphones because I find they are pretty loud as they are.

Cool stuff man. Yeah, the guy had a great groove, and feel. Also love the sound of his cymbals (But then I do have a 2002 so I am a bit biased lol)

[quote name='xgsjx' timestamp='1334414774' post='1615935'] Put your 102 on it's end so the speakers are vertical. I found this makes a huge difference to the spread on stage (I have the same combo) [/quote] This is what I would suggest. It's not going to cost you anything so might as well give it a go to see if it helps.

looks like a good job. I covered my drums in camo fabric once but then I realised they were buggering up the resonance of them so I took them off. This setup was just for a laugh really lol.

[quote name='spinynorman' timestamp='1334327241' post='1614654'] I couldn't get Gearbox to work without the UX1 box being plugged in. Just seen the price of Guitar Rig, and also the Markbass Studio plugin. I think the problem is going to be the price of stand-alone software vs the acceptable solution I have that just has a slightly inconvenient box attached. I've downloaded the free version of Amplitude to see if that's any good. [/quote] True. I think Guitar Rig is certainly worth paying for if you have the money but the real value lies in the number of different guitar tones you can get out of it, so maybe not that great if you only use the bass amp (although some of the guitar amp models work quite well for bass distortion, then you can bi amp with a bass amp for the lows to give you some pretty decent bass distortion). The markbass stuff on the other hand IMO is a bit of a rip off- I mean it is something like £4 a megabyte lol.

[quote name='spinynorman' timestamp='1334325253' post='1614589'] So what I'd like to try is stand-alone amp modelling sw that works with the Lindy cable, so I can get rid of the box. Any recommendations, or am I mad to even try? [/quote] sounds entirely reasonable to me. IIRC, Guitar Rig works as a standalone bit of software on your computer and is happy to accept any audio input that works with your computer. Are you sue the line6 software wouldn't work with the guitar to usb cable anyway?

[quote name='Linus27' timestamp='1334250850' post='1613298'] I'm new to EZdrummer and so far having a blast. However, I want to start writing my own drum pattern and songs. Will EZdrummer work with Pro Tools and is it possible to use EZdrummer to write your own drum patterns/songs within Pro Tools? Total newbie here so go gentle [/quote] You should be able to insert it as a VST synth into protools. When you get there, you should be able to insert the synth with a midi track. Then you can either edit the midi track in house or import one from tuxguitar or whathaveyou. I know this all sounds a bit vague but I don't use protools so I am not entirely sure how you set things like that up.

So annoying. Yeah I find that you just can't get enough umph out of most cheapo 115 combos like that. You end up turning it up and it just sounds crap.

[quote name='sgh' timestamp='1334076728' post='1610590'] Anyone know where I can get some free midi samples for ezdrummer ? [/quote] Do you mean like playing patterns or drum/cymbal sound samples?

[quote name='daz' timestamp='1333933540' post='1608518'] Bloody drummers. You cant even trust their Dads either now. Tsk tsk! [/quote] Lol. That is quite funny, even speaking as a drummer. [quote name='Mykesbass' timestamp='1333964284' post='1608700'] Can see this coming up as a plot line for Silent Witness! [/quote] Tell you what, Emilia Fox can cut me up any day lol. (not in her car though, that would just be annoying). [quote name='Johnston' timestamp='1334048989' post='1609949'] Why not? It's the only sure thing in life. Happens to us all etc etc. [/quote] +1. [quote name='silddx' timestamp='1334052066' post='1610024'] Ahh, that must be it. Apologies for being so serious. After all, we didn't know the dead person so it's all fine. [/quote] Glad you have come round to our way of thinking

[quote name='Rimskidog' timestamp='1333830815' post='1607200'] That's the nail on the head man. It's all trial and error. Once it starts to come together you'll be glad you put the time in to work it out rather than trying to follow some kind of cardboard cutout. [/quote] +1. Trial and error, that has basically how I have spent the last 7 years of making recordings

[quote name='Rimskidog' timestamp='1333831269' post='1607212'] No photos this week. Builders didn't turn up once [/quote] Ouch. Please tell me they were busy with other work...

[quote name='Rimskidog' timestamp='1333813363' post='1606880'] I'm gonna go slightly off topic here because I think it's important. An admission first, my first instrument is bass. I love bass. It's my favourite instrument by a long way. BUT... ...what non-recording engineers miss all the time is that the bass will only drive if it is not being walked over by other instruments. Just because you like the sound it makes by itself it doesn't mean that's either the best sound for it in the mix or indeed, how that sound will sound in the mix (unless the bass is the most important sound in that mix - it rarely is for anyone but the bass player in that band... sorry, get over it). So, it follows that the best tone for a bass is the one that sits best in that particular mix, a tone that takes that song to a different level. (That's because a great record is one that is better than the sum of it's parts rather than just being equal to the sum of the parts.) You'd be amazed that if you solo'd the bass in a multitrack recording of your favourite record how different it sounds compared to how it sounds on the final record. So to answer your question, there are a dozen ways to get to the sound you hear on the record. (But if you could hear that track solo'd you probably wouldn't like it nearly so much because it will have been hacked at with an eq and compressed to within an inch of its life to make it fit in the mix.) There'll be significant cutting below about 80hz for the kick, somewhere around 300hz to get rid of some mud, and a bit of a boost in the low mids for weight and in the midrange somewhere for growl. The signal might have been split into two or even three tracks or not. My starting point on this would be to bring the bass up on two channels on my desk and use a pair of VOGs, one on the lower mids and one to bring out the mid-growl. If I couldnt get there with that I might put a nice analogue distortion such as an early RAT on the mid channel. (Ultimately, this actual sound is a combination of the players fingers, the instrument, the amp or DI used, any effects, compression, eq, etc.) Anyway,a bt meandering for which I apologise but I hope this helps somehow. [/quote] Certainly would agree to all of this. The bass is generally quite compressed in a recording. This is so you can mix it properly, the bass is a very dynamic instrument and when you put it in a recording you find that on its own, the quiet notes are nearly inaudible and the loud notes are overpowering. If you're playing the bass with distorted guitars, the distortion adds quite a bit of compression on its own and you will find that you only hear the attack of the bass and not the ringing out of the note if you don't use any compression. Don't get side-tracked into thinking that what sounds best on its own is what is going to sound best in the mix. However, that is not to say you can't have a little dirt in your sound and still let it sit in the mix. In fact, I have found a good sound in putting a bit of distortion on the mids/highs to squash down the peaks a bit and then use a compressor on the lower end to give you the same compression without losing too much definition and low end. This requires multiple tracks, but I find the best way to go about sorting this if possible is to DI the bass, that way you can play it through as many different amps and or effects as you want without having to re-record the actual bass part itself.

Should be in the ebay links forum in the basschat marketplace.

Nice. I must say as far as I'm concerned it is a lot better than a woman who constantly worries about damaging her precious manicure any day lol.

[quote name='TRBboy' timestamp='1333756871' post='1606242'] The easiest way to get round that is find something (sometimes a AAA battery does the job) which is just the right size to keep the bridge where it is when you slacken the strings. BEFORE YOU SLACKEN THE STRINGS, push down on the tremolo arm, and insert under the back of the bridge ( well, under the bolts for the locking saddles). Don't remove it until you've changed the strings and tuned back up to pitch (and stretched in). Because you've kept the bridge in the same position, there's much less tuning up to do to balance the string tension and trem spring tension. Keep the fine tuners set to about the centre of their thread, and only bother locking the nut off when you're completely tuned.up and happy with everything. Just use the fine tuners to tweak it if needs be once you've locked the nut. Obviously if you're changing string gauge by much, you'll need to adjust the spring tension and start afresh anyway, although this technique may still help to a certain extent. Hope this helps, and good score by the way! They are wicked guitars. [/quote] I find the best way to do it if you're adjusting string gauges is to adjust the spring tension (which can be done by adding and removing springs or screwing and unscrewing the trem claw) until the wedge object is just barely being held in there. It's important to make sure whatever you do use as a wedge holds it as close as possible to the horizontal position and that you make sure it stays in this position by adjusting spring tension, otherwise the intonation and action will be off.

[quote name='DavidCertain' timestamp='1332202342' post='1584910'] I'm wondering why not one person has commented on the counterfeit Fender decal. This is very unethical, plus, why can't the guy put his own name on the bass he made? It's like putting a Opal logo on a Mercedes. Sure, most of us could tell it's not really a Fender, but after it changes hands a couple of times, someone is going to get taken. It's not only extremely unethical to make or own such a bass, it's highly illegal. I certainly wouldn't be bragging about it in an internet bass forum. I'm just wondering what's the purpose of using counterfeit Fender decals? Anyone want to explain why someone would be proud of this when they should be ashamed? [/quote] Because, this is not the US of A, where you're happy to burn anyone at the stake for any minor copywright infringement. Also, it's opel, not opal (we call them vauxhalls anyway)

I think these adverts are more usually to make fans feel better about themselves rather than actually seriously searching for a new bass player. 99 times out of 100 they will pick out a bass player who has recently left another well known band or a pro session player or something. KsE did a similar thing the other month when Howard Jones left. They were "looking for a singer" so they said people could audition if they emailed them. What did they end up doing? What else? They went back to Jesse Leach, of course!

gorgeous.

Great idea, why do [quote name='icastle' timestamp='1333100912' post='1597297'] Reckon you'll be treading on dangerous ground there I think it'd be like getting hired to play at Gordon Ramseys birthday party and then sticking 'Gordon Is A Moron' into the set list. He might find it funny, but the chances are that he wouldn't... [/quote] Or if you played "News of the World" by the Jam at Rupert Murdoch's birthday bash. Mind you everyone hates him so I would say go for it!

[quote name='LukeFRC' timestamp='1332943688' post='1595234'] I know, I'm very very lucky. I never really intended playing guitar, it kinda just happened that found a guitar, and then saw the amp at a price worth buying it for. So not set aside money for lessons and the like. I kinda have this attitude also that music is what I do for fun and relaxing, that's what bass started as for me, and with no formal training I'm nae too bad at it now, I wouldn't want lessons. As an artist/designer thats work and focus and spending money on training in that is good- music, for me, works best more laid back and not trying to be any good. I'll prob just pester friends for tips to be honest, or find a book or two... or do what I did with bass, download tab and keep trying till it sounds the same (no one at the time told me that the chili's bass player was actually quite good and not easy to play!) [/quote] It sounds to me like you've just answered your own question. If you don't like lessons, then don't go down that road. Simple.

I don't think they're worth big money. They were at the time budget basses, made out of plywood.