ShergoldSnickers

Forgetting some patches use the pedal for volume on my GT-10B. Accidentally knocking the 'Speaker' switch on the back of my Nemesis combo. Forgetting that pulling the lower volume dial on my bass mutes the output. Yes, all these result in that living nightmare of the fingers moving, but no sound ensues.

Got me wondering as well.... Rather than using wooden battens and bracing, would it be possible to use a threaded metal rod to stress opposing panels by pulling them inward toward each other? I guess this rules out lots of designs due to the driver(s) getting in the way of the rod. You'd want the panels joined by the rod at the point where they flex most - slap bang in their centre I would presume. Might mean narrow front, deep cabs! Use an aluminium rod for weight saving and.... well like I said, jus' wondering. Hang on... that's it - geodesic bass cabs as per Barnes Wallis!

I'll be honest. I'm tired of slap. But not any more. The perfect mix of technique, musicianship and attitude. Damn....

Myself and a few mates have had a couple of prog rock evenings. Bring your favourite albums, favourite beer, sit down and listen and tell some good yarns. Bliss. Last time someone dug out some genuine 70s NMEs for us to pour over. Fantastic.

[quote name='steve-soar' post='851423' date='May 29 2010, 08:16 PM']Sounds like me jamming after comming in from a night out.[/quote] Sadly it sounds BETTER than me before the night out.

OK, it's a spoof*. Someone has taken a lot of time and trouble to sync the sounds in. The proper video comes up next to it at the end. Strangely, I prefer this... * Fretted bass sound that sounds more like a Precision than a Jazz.

[quote name='Rimskidog' post='846030' date='May 23 2010, 09:16 PM']+1. that's a really low budget. While dynamic mics tend to be much better for the money they really need a decent preamp to drive them as they tend to need much more gain to bring them to life. If you have an SM58 already I'd probably try and add a decent preamp. The Rane MS1b is the only half decent one at your budget level. If not and you are thinking of the LDC option the NT1a, as mentioned above, is probably the best of the budget bunch of LDCs. The ADK A51 is also a great buy if you can find one. If you dont plan to use if for vocals and SDC may be a better bet though. The little Rode NT5 is a bargain buy and probably better on guitars that the LDCs mentioned. You might be able to pick up a used one about about that level.[/quote] Good point about the NT5. It's also more manageable in and around acoustic instruments, being relatively small.

[quote name='JackLondon' post='845365' date='May 22 2010, 09:31 PM']Hi Chaps, I'm in need of advice again and this time it's on microphones. Bascially I've got the Boss BR900CD and today I've got a brand new SM58 in a trade. Will this be good for micing up guitar and bass cabs and quite possibly acoustic/classical guitars or would you recommend something else? Ideally I don't want to spend more than £50-70 second hand but I'm just wondering what is out there. The mic does not have to be high quality, just enough for home recording to see what's what! Any advice appreciated! Cheers Jack[/quote] The SM58 is a specialist mic really. It can suit some instances perfectly, but is far from being a general purpose mic. However, for live vocals - fine. Some recorded vocals - fine. A guitar cab - fine. Anything delicate or with any real bass output - you are far better off with a good condenser. If I were restricted to just one at a reasonable price, I'd go for a CAD m179. Variable polar patterns from omni to hyper cardioid to figure of eight, a transparent sound and built like a tank. You might just pick one up second hand with your budget, but there's always the less expensive CAD m177 - similar to the m179 but without the polar pattern switching. Reviews: [url="http://www.soundonsound.com/sos/Oct01/articles/cadmics.asp"]http://www.soundonsound.com/sos/Oct01/articles/cadmics.asp[/url] Others? As Ian says quite correctly, the Rode range is very solid. So, yes, the NT1 would be a great choice, or the newer NT1-A, as would the NT3. You'll have to hunt these down second-hand though, as new they are over budget. Worth it though!

[quote name='jonthebass' post='843688' date='May 20 2010, 11:32 PM']Hello All, Back in 2000/2001 my band recorded an EP on a MAC based Protools rig that was backed up/saved to 4 CD-R's and handed over to us at the end of the session. On the back of the each sleeve the Guy wrote - Retrospect backup disc 1/2/3/4 When I put the first disc in my MAC it doesn't even recognize the CD-R at all just asking to ignore or eject the CD. I found and downloaded Retrospect for MAC but just don't know what to do with it to see if it'll read the CD-R's. It certainly doesn't seem to be obvious. Is there a way to read the discs and open the files to get the audio tracks out do you know? Any BC'ers in London that may be able to extract the audio files/tracks for me to load into Logic? Any help much appreciated, Cheers, Jon. I[/quote] The problem here is teasing out where any fault may lie: The CDs may have 'gone bad'. CDs burned in one drive are sometimes unreadable in another - rare but it does happen. Then there's the proprietary Retrospect file format that the data is saved in. We'll assume for now that Retrospect is required to read the CDs and that they haven't become corrupt. Somewhere in Retrospect (been a long time since I used it) is the facility for repairing or rebuilding the Retrospect catalogue file - this gives Retrospect the info about which files are in the backup and where to access them, ie which disk. It may be worth trying this option and then mounting the first CD to see if Retrospect can read it. If so, you can save the rebuilt catalogue file to your hard disk, and go through the rebuild procedure. It should ask if there are any more disks in the backup set when the first is done. It is some time since I used Retrospect so I'm a bit hazy about this. Worth a try though! Good luck Jon. Edit: Forgot to mention - once the catalogue file is rebuild and saved you still need to restore the data to your hard disk. There's a button for doing that in Retrospect somewhere! Snicks.

Present band. Cheeky sods we are, just turn up, no set list, nothing learned - and we well, just turn up and play. Sometimes people clap. Well we enjoy it. You might - you never know till you've listened and then... (cue mad cackling) it's too late to go back mwaaaahaaahaaaa! [url="http://www.myspace.com/fearofbicycles"]http://www.myspace.com/fearofbicycles[/url]

[quote name='ShergoldSnickers' post='839064' date='May 16 2010, 06:15 PM']The present gear consists of an Eden Nemesis nc115 - the 250watts into 4 ohms one, not the higher output later rs115. I know the output jack for an extension cab is wired in series, but I can't get a definitive answer as to the impedance that the amp actually sees with the 15" driver. It's either 4 or 8 ohms depending on who I ask. If it's 8 ohms, a quick mod will enable me to have the extension output wired in parallel, and I can happily get a nice 2 x 10 also at 8 ohms. Anyone know for certain? If it's 4 ohms, I'll have to plump for a 4 ohm extension cab. If this [b]IS[/b] the case, my reasoning is to go for a 4 x 10, so that I could buy a more powerful amp at a later date, and still make good use of the external cab, without having the need to buy any more cabs to go with it. The obvious choices are the n210rs for the 2 x 10 option if the impedance is 8 ohms, and the n410rs if 4 ohms. Any other reasonably lightweight cab suggestions whilst I'm about it? Budget around £450, and I prefer the basic sound to be more on the hi-fi end than 'interestingly characterful'! It's a chance to plug any gear you have for for sale too![/quote] Looks like I have an answer. A Barefaced one - thanks Alex. Time to start counting pennies.

The present gear consists of an Eden Nemesis nc115 - the 250watts into 4 ohms one, not the higher output later rs115. I know the output jack for an extension cab is wired in series, but I can't get a definitive answer as to the impedance that the amp actually sees with the 15" driver. It's either 4 or 8 ohms depending on who I ask. If it's 8 ohms, a quick mod will enable me to have the extension output wired in parallel, and I can happily get a nice 2 x 10 also at 8 ohms. Anyone know for certain? If it's 4 ohms, I'll have to plump for a 4 ohm extension cab. If this [b]IS[/b] the case, my reasoning is to go for a 4 x 10, so that I could buy a more powerful amp at a later date, and still make good use of the external cab, without having the need to buy any more cabs to go with it. The obvious choices are the n210rs for the 2 x 10 option if the impedance is 8 ohms, and the n410rs if 4 ohms. Any other reasonably lightweight cab suggestions whilst I'm about it? Budget around £450, and I prefer the basic sound to be more on the hi-fi end than 'interestingly characterful'! It's a chance to plug any gear you have for for sale too!

Intelligently constructed, musically interesting and well played. It works as a whole and there is a real band sound in there. Nicely worked backing vocals, great variety of bass tone. Personally I'd like to have heard a bit more transparency in the drum sound, it sounds a bit cut off above 10k and a little peaky in the treble and upper mid below that. A few tiny timing errors too but I'm the last one that should be pointing that out. Minor criticisms. I could see this collection sitting nicely on my iPod guys.

Raucous, edgy and lots of distorted bass. Bollocks to 'em I'm having this played at my funeral.

Dill Katz used to play on [url="http://en.wikipedia.org/wiki/Play_Away"]Play Away[/url]. [url="http://en.wikipedia.org/wiki/Brian_Cant"]Brian Cant[/url]? Genius. With a risky name.

Class. Sheer class. I need say no more.

Found time to have a good listen to all the tracks on your page. There is an atmosphere that runs through your work, a poignancy I can't adequately describe. There's both sadness and hope. Technically it's not perfect, but neither is the stuff I've done. Besides which, if the listener is focusing on the technical they aren't really getting what you and your music are about. I have to say I like it because of the uncompromising rawness - you get straight to the point of the music without any over polished veneer clouding the view. It's honest. I hope that makes sense!

Listening to that has just made me feel 20 years younger. Stunningly tight and powerful with some neat rhythmic changes - not my usual listening but I still really enjoyed it much to my surprise.

Absolutely superb in all it's immense quirkiness. I kept expecting Tom Waits to chip in at any second. This is taking the songwriting rule book and flinging it in the mangling machine of unfettered abandon. Raw, refreshing and it just shouts "Bollocks" to the mainstream at the top of it's lungs. Loved it. I absolutely promise to listen to the rest when I get some time soon.