slaphappygarry

Sounds brilliant man, Just goes to show doesn't it. G

Zap me the address or I will pass it on to the next person. G

I have a Hartke 210 xl for sale for £110 plus shipping if you are interested Garry

I like using something a little brighter on a bass cab and have had good results with large dia mics. In that market check out the Rode Nt1a, AKG Perception 250 and SE mics which all get good reps. A good condensor will be way more useful on other things than a D112 (which i really like). A 57 is also a good choice for an all rounder mic but would be better suited close on a cone rather than a foot or so from the cab (where i would start with the condensor). Garry

Bassmandan was the first pm Zap me the address G

Guys, I am sorry. Was meant to go to stonecoldbass but, having not seen him in a while I totally forgot i even had this, let alone still had to pass it on. I am sorry. A total mind blank. So, who wants it? Is it a first to PM me?

Wullie Check out BFD. Its even installed on pro tools in MIDI Lab A at uni as a lite version. You will love it. G

Take some food and a book with you. Enjoy it as it will be over before you know it. G

I quite like waves. You will never get commercial standard mastering yourself but some clever compression, soft limiting and careful Eq can really go a long way whatever you use. At the end of the day, if its too quiet the listener will turn it up, if its compressed to the point of distortion the listener will turn it off. Good luck. G

Gash!

[quote]you have a specific mic and placement you prefer. fair enough, but it seems to end with that. too bad for the client that isn't after your preferred sound.[/quote] Where did i say that? I am all for experimenting. There is not a specific mic or placement i use. It changes for player and rigs. Like i say nothing is right straight off an my starting methods change all the time but i feel that any playing about should be done at the start. With a DI and a good condensor you should be covered Dan. By all means throw up as many additional mics as you wish but make sure you are happy with your sound then because, from my experiences, its no fun trying to come to a compromise later on. At the end of the day being a good engineer is all about compromise. Going along with the clients wishes and doing the job properly being the top priorities. I get some good work and repeat custom from clients so feel happy in the knowledge i am doing what i am supposed too. When someone says 'i am not sure about that sound' the solution is not another mic. From experience moving the first mic 2" is so much more powerful than adding more signals to the instrument. [quote]yes, get it right, at the start. and get as many right options, right at the start.[/quote] Bingo. Thats a fair compromise. So long as you are happy from the start Dan you will be covered and will sound good. We are now detracting from the thread. PM me if you want to continue this. G

Which is exactly why you should get it right to start with and not rely on sorting it later. If you want to argue your point any further drop me a pm. G

*Sigh* Ok. Have it your way. I have lost interest in discussing this with you. I clearly do things differently to you. Neither method is wrong. G

I think we are agreeing on the same thing: [quote]if you have a close, mid, and far, (or DI for those who don't like the sound of their amp) all placed with his immense knowledge and taste[/quote] is what i was saying. Its the old poor workman best tools syndrome. A good engineer and one mic will be better than a crap one and every mic under the sun. [quote]lotsa mics - insurance for you[/quote] using lots of mics is not the same as using immense knowledge and taste. I still feel getting the source right is paramount but if you find what you need later, and it works for you, great. The other point i made is phase cancellation. If you get that wrong then the extra microphones will detract from the bass sound, not add to it so take lots of care when using more than one mic. Cheers Garry

I am an engineer and have lots of experience. Getting it right to start with is the best way to do it in my opinion. [quote]one mic? let me guess, a 58, 3 inches from the speaker at an angle from the cone? highly over rated approach[/quote] Generally i like to use a Neumann or AKG 414 about a foot back from the whole cab. I generally think dynamic microphones don't work as well or compliment the DI well. The point i was making was that the engineer will have his own tricks and saying to him "just chuck up another 2 mics aimlessly hust incase" wont help. His one placed through experience and practice will always be closer to what you are after than 3 put up randomly. Especially if you don't understand phase cancellation (a side effect of using more than 1 mic) which can ruin your bass sound all together. Tell the engineer what you want. Listen to his set up. If its not right, say, dont rely on EQ, compression or any of that to fix it later. Moving a mic and inch is much quicker than faffing about with a dozen channels of audio. Good luck G

[quote]lotsa mics - insurance for you, the sound you want will be in one or a combination of some.[/quote] I disagree with this a little. Go one step back. Use one mic and a di and make sure they sound good before you start recording. This is much better than hoping to 'find' the sound later when mixing. G