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TwoTimesBass

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  1. What make/model is the condenser mic Nicko?
  2. Steinberg as a company have never been a hardware manufacturer until they were bought by Yamaha, so when it comes to soundcards read 'Yamaha' for 'Steinberg'. Which is not a bad thing as Yamaha have had excellent build quality on their pro-audio products over the years, even if the aesthetics sometimes look a bit old fashioned compared to others.
  3. Get a Pelicase. Boring, predicable and quite expensive but there's a reason that you always see them following touring guys in airports...
  4. Dry Bones - Delta Rhythm Boys (and many others)
  5. To be honest if I had the money I'd do the tracking in a commercial studio with good room acoustics, plenty of space and expensive mics/preamps/engineer, then do the mix at home using all the same plugins etc that everyone has at their disposal. Too many 'commercial' studios are converted storage units with some acoustic panels and well read copies of Sound on Sound anyway. Sadly most mid-range commercial studios have gone to the wall over the last 20 years as space becomes more expensive and the technology has become within the price range of home recordists. Plenty of currently available music has been recorded in home studios, probably quite a large proportion in reality. I would spend the cash having a track/album commercially mastered though...
  6. My 2 cents: Bass traps in the three corners that don't have the boiler. Panels round the walls at playing/singing height, portrait orientation. You can leave a bit of a gap between them of a couple of inches without too much of a problem. You're trying to avoid reflections from parallel walls mostly. Keep a couple of panels free and suspend them at the same angle as the roof above the desk/mix position. Just above the light looks about right Rugs on the floor 😀 But you might want to leave an uncovered area as acoustic guitar sometimes benefits from a bit of floor reflection when recording. Have fun, and if it doesn't work just move things until it sounds better 😀
  7. Yamaha TF series would be my recommendation at that price point. Lots of busses, good connectivity and part of the Yamaha family workflow that translates onto their bigger desks.
  8. That's reminded me that I need to get in touch with him to get some work done. From experience he doesn't always respond to email, best to give him a call...
  9. Try turning the knob backwards and fowards, endstop to endstop vigorously (!) for a good couple of minutes. You always end up with a bit of dirt or corrosion on pots if they aren't used regularly, and contact cleaner isn't always the best answer. Giving the pot a bit of exercise should clean off the contact surfaces pretty well.
  10. Yes, your meter is measuring ohms dc resistance whereas cabs are rated to ohms ac impedance, close but not the same thing... A single 8ohm (Z) speaker will read as less than 8 ohms on a dc resistance meter. With multiple speakers in the cab wired in different series/parallel combinations it's harder to tell what the value would be. If it says 8 ohm on the back i'd stick with that.
  11. Hi Skidder, For kick, I normally start with something like this: Attack: 0ms Release: Auto (if you have the option) or around 50ms Ratio: About 5:1 Hard Knee (if you have the option) Threshold: Adjust to give about -6 to -9 on the gain reduction meter (and to your ears) Make-up gain: Only if needed, be careful not to overload. If there is a Mix or Wet/Dry knob make sure it is set to 100% Wet The Threshold and Attack knobs have the most influence on your sound typically, increasing the attack lets more of the initial hit of the drum/bass before the compressor kicks in so add a bit more time if it sounds too 'flat'. Threshold acts like a more/less control.
  12. Good work Skidder, you're a fast learner! Love the sound of the bass licks in the dropouts at the end of the chorus. If i'm being picky (which I sadly can't help in life 😫) watch out for the kick drum hitting the mix buss/mastering compressor too hard. It sounds clipped and pulls the mix down flattening everything else when the vocal needs to stand out. It's already a very loud mix relatively speaking. A multiband compressor would help it you have one in your toolbox so the impact of the kick can be left alone without taking away the smoothing effect of a good mastering comp on the vocals. Alternatively, set up a separate buss to comp the drums & bass so the compressor settings don't effect the vocals if that makes sense? Either way, sterling work on the effort you're putting in to master the equipment and getting a good sound for the band 👍
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