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WinterMute

⭐Supporting Member⭐
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Everything posted by WinterMute

  1. Same issues, most modern headphones are shaped to provide the kind of sound the manufacturers imagine people want, which seems to be bass heavy muffled b*ll*cks, you're always at the mercy of your playback system, if it's lying to you, what chance do you stand? I bought 3 or 4 sets of ever more expensive headphones/in-ears before I found a set that actually managed to reproduce the audio I was putting through it properly, they turned out to be the B&W Pi7 A quick nod to Sonarworks SoundID Reference system, which will help iron out problems with room induced frequency changes, but isn't particularly cheap as you do need the reference mic they sell to make it work properly, but it does work very well once you've measured the room. I've not had very good results with their headphone playback system however. https://www.sonarworks.com/soundid-reference
  2. Cables, cables, cables... long ones, short ones, curly ones, that odd little one your mate made up for your pedal board that means everything works, the cheap USB cable that will always fail... Then connectors, why wouldn't you use locking connectors for a live show whenever you can? Just don't understand it. Also, the Furman power distro/conditioner range, or something similar, the single most useful and effective unit in any small studio.
  3. One of the biggest problems you face is not being able to hear the content of the audio accurately, this is especially true of bass, monitors and rooms have a terrible time reproducing bass frequencies accurately and most issues around bass come from simply not being able to hear the frequencies involved. Learn a bit about speaker placement in rooms, learn about your speaker/monitor specs, if you can then make changes to how your room is laid out to make the best use of the system you have. Once you can hear properly, you stand a chance, there's tons of good guides on speaker placement, some of the Hifi manufacturers do some great stuff. No need to go mad and treat your room unless you live in a shipping container, but rudimentary understanding of placements and some acoustics will help. After that source is everything, get your bass sounding the way you want it to sound and you have everything you need to record well, don't push the level up too far, tracking at around -14bd in the DAW is fine you'll gain absolutely nothing by pushing the levels up. This is not the case for any analogue gain stages in your bass tone chain, beat the sh*t out of them to get the sound you want, then track it at -14db.
  4. I have a Bart pup and pre-amp in my "SR5" fretless (MM neck OLP body) and it sounds really good, the pre is very effective.
  5. Mechanical decoupling is a very real effect, stops the physical vibrations of the cab from exciting the structure of the floor, thus reducing bass "boom" on hollow floors. It'll do nothing for air-borne vibration shaking loose and hollow floors about, but it'll help. I have a Gramma under my QSC, very similar to Jacks rig above, I used to use it under the sub in my old flat to stop annoying the people downstairs.
  6. Most of it is just library music from one or other of the standing collections, you can license it fairly cheaply. I've always liked KMR's hold music which is the little Jazzy piece from the Vision On Gallery sequences.
  7. Saw Jonas Helborg playing his 4 string version a few times, that looked like you'd need a back brace to deal with it, god knows what your chiropractic bills will be like... Cracking bass, officially jealous.
  8. I had a MIM Geddy for a while, loved it, sounded great, played really well, didn't have enough strings in the end. I've played master built Warwicks, BFR Musicman and custom shop Fenders over the years and they've all been a cut above the quality of the mass produced instruments, but that would need to be something very special to justify the price tag, Alan at ACG is building spectacular basses for half the money, many others too. In the end you pays your money and takes your choice.
  9. I have always failed to see why anyone should take the opinion of a musician about anything seriously simply because they are famous, rich or successful. Ars*hol*s and opinions, we've all got them and they all stink at various times. I do agree with Stephen Fry, offence is taken, not given, if you don't like what Clayton had to say, so what?
  10. I loved the body shape on the Krell design the moment I saw it but it's that forearm carve that really sets of the design for me, lovely bass.
  11. Bass now ready to have the neck and body carving done, really please with how this is turning out.
  12. Fair comment, never been a fan of the Beatles, but they could write a decent tune.
  13. Percy and Alison Krause - Raise the roof. Loved Raising Sand, this is every bit as good. Counting Crows Butter Miracle isn't bad either, it's an EP really, album to follow.
  14. Blimey, that's service for you... I think the Maple topped ones are nicer, but that's a lot of bass for £300 if you like the MM neck.
  15. If you can find one, the OLP Tony Levin signature SR5 is an absolute bargain, proper well-built 5 string. I stuck a Bartolini in the one I had, but the original pup isn't bad at all.
  16. I've always tended towards "one in one out", and usual only had 2, a fretted and a fretless, usually 5 strings. However, I currently have 3 and an ACG on the way, I'm keeping the 20th Anni SR5 and the Bongo (a 50th birthday pressie) and the current "Frankenstein SR5" fretless probably isn't worth selling, so when Alan's 5 string fretless turns up, I'll have 4 and just enough room on the walls for all of them. That's the answer then, you have enough when you run out of wall space.
  17. I've worked for many years with Eddie Veale, who engineered and edited Lennon's Imagine album whilst building studios for Lennon, Harrison and (I think) Ringo, he's always maintained that Yoko was the making of John Lennon, and that there was a reason he (Eddie) never took to McCartney the way he did to the others. I've not heard his take on Get Back as yet, but he was interviewed for the Above Us Only Sky documentary about the making of imagine, which I thought was very good. I think Get Back was very sympathetic to Paul McCartney and I thought it was interesting that John Lennon was the one pushing to have Harrison's compositions included in the later parts of the documentary. I also think that, whilst the album probably wouldn't have been made without McCartney's drive and talent, it was him that ultimately led to Harrison's dissatisfaction and the split. I also think Ringo is a f*cking machine, he didn't miss a beat.
  18. My take from watching episode 1 and genuinely not being a Beatles fan at all, it's fascinating to watch the moments of creativity that spawned some of the most famous songs in the history of modern music, Get Back, Let It Be... Watching the dynamic between the band members that is utterly familiar to any of us who have written music in a collaborative setting is equally compelling. I'll be watching the other episodes, it's a rare glimpse of history, regardless of the accusations of spin that are being levelled at Jackson's editing decisions.
  19. No, the FBT kit is proper pro-level stuff, it's not cheap but it's very good, If you're happy with the sound you're getting from the HK's I'd probably stay with them. However if you're looking to step up the quality of your sound, I'd definitely have FBT on the list of PA to demo.
  20. I've run full bands through the FBT Vertus, using the 18" sub not the 2x8, and with the higher powered columns, and they don't miss a beat, they'll handle small venue duties very easily, you can always double up for larger venues, they system is fully modular and self powered, add another sub and column per side and you're looking as some serious output in very well controlled line arrays.
  21. There have been so very few musicians who can play a solo that is genuinely exciting and inspiring in the context of a band performance, most of them just come over as self indulgent twaddle, and I include some personal hero's work in that, even the late, genuinely great Neil Peart's solos were a bit hit and miss. Solo performers are a different case, John McLaughlin's solo work is awesome, but it's not just about his technique, it's about the music, Jaco's Portrait of Tracy is a beautiful piece, as are some of Micheal Manrings pieces, but 5 minutes of solo guitar w*nk by (insert guitarist name here) in the middle of a concert. No thanks. Take Prince's solo in While My Guitar Gently weeps at the Harrison Memorial Concert, as an exercise in technique it's astonishing, but more than that, it's an exercise in musicianship, and it leaves the performance all the greater for it. Mark King's brilliant work in (insert favourite Level 42 track here) is technically arresting, and he sings at the same time, astonishing playing. Geddy Lee's breaks in YYZ, answered by Peart's joint busting chops, gob-smacking, iconic. I think musical genres that are built around individual virtuosity, like some forms of Jazz, have a claim to extending the boundaries of musicianship and performance, but I personally find virtuosity for the sake of it to be a d*ck measuring exercise. The thunder thumbs video posted earlier, my god, what technique, what tone, what a huge ego... 32 bars of that and back to the song, brilliant. What, is he still playing the same solo? Dull. As always, YMMV, and it's a much more interesting world that has diversity of ideas, styles and purpose, if we all liked the same stuff, it'd be boring.
  22. There's a synth line tracking the baseline too I think, could be an effect on the bass, but there's something synthetic in it.
  23. Almost worth keeping a double bass bow in the case for that very event.
  24. Never been a big fan of bass solos (or guitar or keyboard solos if I'm honest) if players want to show how brilliant they are, they should craft their work into the context of the music IMO. Something like Portrait of Tracy is clearly a solo, but it's a piece written for solo bass, and that's fine. Otherwise, do what Geddy Lee or Ox did and stick some killer lines into a great song.
  25. Yes, but you get to keep the great speakers in the settlement...
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