WinterMute

Crown XLS 1500, class D power amp, the Drivecore version, light and bloody loud.

I’ve been running it bridged into my BF BTT, 1550w into 4 ohms, never had a moments problem being heard, it’s lived racked, and is in good nick.

https://www.crownaudio.com/en/products/xls-1500

Prefer not to post, as it’s heavy even though it’s light for a power amp, but happy to meet London local, the amp is in West London, Heathrow area.

Will post if required, at your expense.

Much as it pains me, I’m not going to use this beast again in anger, and it should go to someone who appreciates it’s monstrous beauty.

This is the original BTT with the 6” midrange and variable tweeter, not the newer version with the compression horn, I’ve been running it with a Crown XLS1500, and it’s effectively a bass PA. Hugely loud and immensly capable, this is the best cab I’ve used and I’ll be sorry to see it go.

Steel grill, intact handles, corners and wheels, it’s a lightweight marvel (I can one arm it, but you wouldn’t want to regularly...) 

Been gigged a few times and has been around the block recording, but it’s in great nick.

I’m not shipping this, it’s too big, happy to meet London local, the cab is in West London, Heathrow area.

This isn’t getting played now so it’s got to go.

SR5 style with maple top and Bart pup and pre and new scratch plate.

In good nick for a gigged bass, a few minor dings, it’s a great bass for the money.

With a poly case.

i would prefer pick up or London local meet, but will send at your cost if necessary. Bass is in West London, Heathrow area.

Dropped to £275, this is a lot of bass for the money.

Very entertaining thread gents, almost as much fun as posting anything complimentary about Apple... 

I have a Big Twin T, it's a monster for the kind of work I do and I'm very happy with it, when I played different music my old Ampeg 8x10 was brilliant but needed help and a big car to move about, it's always going to come down to choices for the kind of music being played.

I tried the BT3 and I liked it a lot, but not to the point that I was tempted to shift the older one on, if anything the separate midrange unit gives the older cab an aggression the new Gen 3 cab lacks (but only marginally). Others have noted the Gen 3 cabs are very clean and respond to the amp/pre-amp choice very well.

In the end these are just tools, I find I'm much less invested in a cab as I am in a guitar. Now I'm not playing live I may well shift the cab and amp on and get something else in for recording, but again I have a range of systems I can use for recording... Find something that works for you, use it till you find something better and agree that not everyone needs the same thing.

Bought Roy's GED2112 Tech 21 pre-amp, straightforward and dead quick, arrived on time and well packaged.

Thanks Roy, it sounds great.

14 hours ago, ern500evo said:

I actually quite like the look of mine, with the black steel grille. A bit quirky. But then again, I play a MM Bongo Stealth so what the f**k do I know!! As you were! 😁

I like the black grill on mine too, and I play a Bongo Stealth 5 string, must be some kind of viral thing...

All good advice above, traps and floating floors etc. but can I suggest you measure the room first as otherwise you're sort of whistling in the dark (which may or may not sound any good depending on the acoustics...)?

Some of us talked about it in this thread: https://www.basschat.co.uk/topic/311993-room-treatment/ 

It might sound a bit daunting, but it's really not that difficult, then you'll have a good chance at fixing whatever issues you might have (and they will be bass and RT related).

I dropped a Bartolini into my Tony Levin 5 string, it was quite a bit smaller than the stock item, don’t know if that makes much difference to you though.

I’ve got the 5h bongo, an SR5 fretless and the 20th anni 5h. The bongo is more aggressive and forward in tone, whilst still sounding like a stingray, it’s a beast live but isn’t as comfortable to play, the G string is a bit close to the edge of the frets and takes a bit of getting used to. 

Don’t know the 4 string versions, so I can’t comment there with any authority but I’d guess the character is similar.

love mine for live, but the 20th Anni has taken over in the studio.

Lack of observance of the few ‘standards” we have is usually the problem...

That said, a bit of research ahead of any changes usually does the trick, that and never updating software during a project and never buy 1st gen hardware.

Avid are usually the worst offenders, but they’ve been decent of late.

I run the S3 with ProTools mainly, but I also use Logic X on occasion (my songwriting partner uses logic so it have it for easy of sharing ideas).

I had the same issue with choosing the S3 and was looking at the Nucleus too.

In the end I didn’t need the transport or monitor control offered by the Nucleus and went with the S3 and I’m very happy with it. The level of integration EUCON give you over the software is impressive and very useful, my workflows for mixing and recording have improved immensely with the S3. It works pretty seamlessly with standard Logic X and PT, and I only have issues with Slate Trigger 2, which will crash ProTools if you select a channel with Trigger in insert slot A.

SSL is more basic in its ability to control plug-ins, automation and the like, but is still a very good unit indeed.

I’d recommend the S3 without hesitation, I’ve just put 2 into studios for Uni of Winchester and they love them with Logic and Abelton as well as PT.

Not a logic expert, but the transition between the 2 DAWs is pretty seamless in my experience.

[quote name='adamg67' timestamp='1506429156' post='3378647']
Thinking about FuzzMeasrure (which is mac only, so no good for me) I have a vague memory of seeing a video someone "shooting a room" using a mic, and I guess it must have been a frequency graph? So you play stuff, poke your mic into different bits of the room and see if the frequencies coming back are the same as in the original. Does that sound sensible? It would work for bass traps maybe.
[/quote]

Sort of, you put the mic in different places, the listening spot, the back of the room, a few others and you play a combination of sweep tones, blips and white or pink noise (not all at the same time...) then the software shows you a waterfall graph of the frequency response, another of the RT. You can see where the frequencies are exaggerated and/or missing and you can plan accordingly.

Some 5.1 receivers do the same thing for living rooms and surround systems with a bit more automation and EQ.

Here's the waterfall plot of my room in the listening position and the back wall, you can see the difference in the bass response.

[attachment=254468:Listen pos waterfall.jpg]
[attachment=254469:Rear wall C waterfall.jpg]

That's why you bass trap the back wall and the corners. Evened it out a bit with the traps, still too bassy on the back wall, but you don't listen critically in that position and the response only needs to be even at the listening position for such a small room.

[quote name='Skol303' timestamp='1506349650' post='3378092']
Absolutely this. Foam is next to useless for taming bass, which accounts for 99% of problems in 99% of home studios [i](*Department of Made Up Statistics, 2017). [/i]It mostly just dampens the high frequencies, which can leave the room sounding 'off'.

Bass trapping is all about density and volume of 'stuff' and the more the better. Most manufacturers seem to use ECOSE (a type of Rockwool). If you have the time and patience, you can manufacture bass traps yourself fairly easily and cheaply (says someone who has never done this himself...). Lots of tutorials online for how to do so.



Never heard of FuzzMeasure before. I'm going to investigate...!
[/quote]

It's a great little room measurement tool, but it relies on the quality of the mic and speakers, best used with a good Omni and whatever monitors you intend to use in the room...!

I did think about building the bass traps myself, but I'm just not that good at DIY and EQ do some really good packs.

If you've got more money that sense, take a look at these little boxes of voodoo, they are unbelievably good. [url="http://www.psiaudio.com/en/our-products/avaa-c20-active-bass-trap/"]http://www.psiaudio.com/en/our-products/avaa-c20-active-bass-trap/[/url]

There's also [url="http://www.eqacoustics.com"]http://www.eqacoustics.com[/url] who do very good home studio studio kits and will help with advice.

I used Fuzzmeasure to get the basic plot of rooms to tell me where the problems are then apply bass traps to the nodal points, (corners basically) and some absorbers at the Early Reflection point, this will help tame most problems to a degree.

Fibre cored units are much better than foam, which isn't as effective as some people would have you believe, but will help some.

Diffusion isn't much use in a small room, but is very good in larger spaces with taming reverb and echo problems.

Hellooooo sexy...! If I'd not just bought my 20th Anni SR5....

Posted a kit shot a few weeks back, here's a longer shot of the room with the treatment showing, there's similar bass trapping on the back wall.

It's a converted single garage with a floating floor and 2 layers of acoustic plasterboard cross glued to isolated battens for the walls, the ceiling is the same with 8" of dense rock wool boxed in with marine ply.

The acoustic treatment is from EQ Acoustics, and is a combo of bass traps in the vertices and broadband absorption at the early reflection points and on the rear wall. The room is about a meter too short and too narrow so I had to kill the back of it rather than use it and the listening position is about 4' further back than I'd like, but it was a good compromise and the results are a room I can use into the early hours without waking anyone in the house and that yields good results.

[attachment=252584:IMG_4568.jpg]
[attachment=252585:IMG_3632.jpg]
[attachment=252588:IMG_3900.jpg]
[attachment=252586:IMG_3905.jpg]
[attachment=252587:IMG_3916.jpg]

It's a full rage stereo cab, you need to be careful of the tweeters I suspect, but otherwise it should be fine, my guitarist has one, blows the bloody doors off regularly...

Full range... Left the typo as it is a combo full of rage...

As a much younger man I played in a band with John McCoy's son (Matt I think) who was a drummer. John came to see us play at Dingwalls and I'll never forget his gleaming bald head looming out of the darkness...! Lovely bloke.

I used to own a TE 4x10 from Mark King's touring rig, 1988 that would have been I think.

Once got into a lift at a trade show with a bloke holding double necked Wal, was so taken with the bass I didn't recognise Jonas Hellborg, who was on his way to do a showcase for Simmons drums, very good he was too.

My latest bass, one I've been after for 10 years, a 20th Anniversary SR5 in love nick courtesy of theshape101, thanks Shane.
 

Bought Shane's 20th Anniversary SR5, great comms, bass arrived in excellent shape.

Fine fellow all round.

The late, great Mick Karn with Japan, Sons of Pioneers...

[url="https://youtu.be/uojTVlfqHhI"]https://youtu.be/uojTVlfqHhI[/url]

[quote name='BigRedX' timestamp='1502530085' post='3352011']
IME home studios are a great tool for organising your musical ideas and sorting out pre-production, but you can beat a good studio with a great engineer when it comes to making a great recording.
[/quote]

I agree with this wholeheartedly, I might be able to put up a shelf, but that doesn't make me a master carpenter...!

However, tech means that home studios can be fully capable of producing recordings and mixes of professional standards, if in the hands of someone with talent and experience, and whilst George Massenburg might be able to make a couple of cans and a bit of string sound great, you nearly always find him in his $1,000,000 plus studio..!

[quote name='Dad3353' timestamp='1502455087' post='3351583']
Would you have listened to that excellent advice, back in the day..?


[/quote]

Don't be silly...

BIgRedX is entirely correct, gear does not equate to quality, very much like the guy we all know with the £4000 bass at home and no clue where the downbeat is.

I have 30 years experience as a pro engineer and have been building studios for 20, I still go to "proper" recording studios to record drums and rhythm sections, as the combination of mics, room acoustics and convenience is hard to beat and almost impossible in a home studio unless you're planning on spending big bucks. The beauty of modern systems is that you can take a drive away from the studio and drop the tracks into whatever DAW you care to use to do all your overdubs. Any one of the decent pre-amp/soundcard combos will do, OP has got the Apogee, that's a god start, you can pretty much do anything in the box now with a little knowledge and application, but the talent to make the kit produce great quality is relatively rare.

Most of us can make a decent fist of it with a little practice and study however.

If I was going to choose kit for a home room now, I'd get a couple of decent mics, Sontronics or AKG or the like, a good interface, the fastest computer I could afford with a ton of RAM and some decent HD space and a decent pair of self-powered monitors, then do everything else in software. Hardware is brilliant, but it's expensive and requires a deal of knowledge.

[quote name='beely' timestamp='1502446142' post='3351468']
Talk Talk: The colour of spring.
Made me so happy, I vacuumed the entire house in 15 minutes.
Since I have house to myself today I will probably follow that up with It's my life then Spirit of Eden.
[/quote]

Loved that album when it came out.

Currently Karnivool: Roquefort

[quote name='roman_sub' timestamp='1502373901' post='3351042']
bottom left - summing box, and bottom right - AMEK limiters?

very tidy, great job
[/quote]

Thanks, took a while to get right.

Yep, Phoenix Audio N16 summing amp and the AMEK 9098 comp/limiter.