WinterMute

[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.

[quote name='Sibob' timestamp='1502199799' post='3349938']
Solid interface choice

Si
[/quote]

Yup, not quite RedNet, but very good indeed.

[quote name='Mornats' timestamp='1501606216' post='3345881']
Yeah, very pricey! I can see the value in a good set of hardware faders but my budget would be much cheaper
[/quote]

Take a look at the Behringer X Touch, only 8 faders, but cheap and useful [url="http://www.music-group.com/Categories/Behringer/Computer-Audio/Desktop-Controllers/X-TOUCH/p/P0B1X"]http://www.music-group.com/Categories/Behringer/Computer-Audio/Desktop-Controllers/X-TOUCH/p/P0B1X[/url]

The Avid Master mix is good too, and it's EUCON, works with all DAWs just like the S3 [url="http://www.avid.com/products/artist-mix"]http://www.avid.com/products/artist-mix[/url]

[quote name='Mornats' timestamp='1501443620' post='3344716'] What's that thing with all the faders on? A decent set of faders is something I'm lacking... [/quote]

It's a Avid S3 controller, works with most main DAWs, very useful bit of kit but they're not cheap for something that doesn't actually alter the sound...!

That said, it's just about the most useful bit of kit I've bought apart from the monitors.

[quote name='adamg67' timestamp='1500801406' post='3340201']
Very nice, I like the way the outboard gear is racked at the back of the desk.
[/quote]

Zaor studio furniture, they do some very useful units and they're not too pricy. Well built too.

[quote name='MacDaddy' timestamp='1500667775' post='3339566']
Muchos respect. I could probably work out where the volume is. Probably.
[/quote]

In one way or another, they're all volume...! Except the green ones, they're MnM's for some reason I can't fathom...

[quote name='MacDaddy' timestamp='1500662260' post='3339521']
Do you really know what all those buttons do ��
[/quote]

Oh yeah, I build studios for a living, been engineering for 30 years.

Still a great system for getting bass tones live or in the studio, as noted it takes quite a bit of patience and study to get the best out of the Line 6 pro units, they are complex. The patches supplied don't do the units justice IMO.

Pod XTPro and cold, dead hands if you get my drift.

In the middle of mixing a project that's taking far too long as this thing called life keeps getting in the way....

Converted the garage and now have a really nice space to work in.

Loads of fun although I think I may have to put a clock on the wall as it keeps getting to be 3:00AM without me noticing...!

Apropos nothing, just thought you guys might be interested.

[attachment=249546:IMG_4274.jpg]

[quote name='pineweasel' timestamp='1500587964' post='3338995']
If you like your Super Twin surely the answer is a Big Twin II?
[/quote]

This.

Or the Big Twin mk1 which has a 6" driver, a tweeter and some crossover controls, not easy to find, but they are monstrous for those of us who like a little twang in our rumble.

Been running this rig for a while, I've been using the XTPro pod in the studio for ages and though it might sound good live with the right amp and cab, picked up a Big Twin from Alex and the Crown XLS1500 from EvilBay. I play fretted and fretless 5 string and the tones change around depending on the track, so essentially this is a bass PA with a fully modelled front end that handles pretty much all of the tonal changes.

It's VV loud, with a ton of headroom, I run the Crown bridged which delivers 1550w into 4 Ohms. The XTPro also allows a modelled DI send to the PA if the venue is big enough, but the rig usually suffices tbh...!

[attachment=249540:IMG_3949.jpg]

The Radial kits are very good, very well built and do what it says on the tin...

We have an Otari MTR90 mk2 in one of our rooms, coupled with a Custom Series 75 Neve console and the CLASP closed loop plug-in system, much fun...

Maintained by the inevitable Clive Kavan [url="http://www.clivekavan.com/index.html"]http://www.clivekavan.com/index.html[/url]

Teaching analog recording to modern students may seem a bit anachronistic, but the quality is undeniable, even when compared with Protools HDx through the Apogee Symphony AD's. The CLASP system just keeps it very modern and useful. I still love the sound of drums and bass off 2" 30ips tape. (yeah 15ips is cool too, and Clive will tell you 8 track 2" is the bomb).

[url="https://www.uwl.ac.uk/academic-schools/music/facilities/music-technology-facilities"]https://www.uwl.ac.uk/academic-schools/music/facilities/music-technology-facilities[/url]

Just a historical note for anyone who gives a monkeys, a "stem" is not a track, a track is a single recorded sound on whatever you're using for a recorder, it can be the output of several mics or DI's or whatever, but it's not able to be split back to it's components. A Stem is a term from film mixing thats found it's way into music production, the usual term is a group. A stem is a group of tracks that have been sub-mixed to make a single channel sub-mix and is usually used to make a large production mix easier to handle.

Imagine a snare drum recorded with 3 mics, a 57 and a U87 on the top and a 414 on the bottom say, each mic would be usually fed to one track, but for mixing the outputs of those three track might be fed to a single mixer input, this then is the snare Stem. You can alter the balance between the mics in the recorder (assuming it's a DAW…) to get the sound right, then you use the single mixer channel to balance that sound into the main mix.

Stem mixing is only useful if you have access to the whole component mix, otherwise you have other people making mix decisions for you before you get hold of the audio.

Always send the component tracks if you can, always get them from the engineer before you leave the studio too, make sure you have a nice big HD to hold them.

Good luck with your mixes BTW, nothing worse than getting a disappointing mix back from an engineer.

[quote name='funkle' timestamp='1397416914' post='2423743']
Sounds like a win to me. If it suits you, could well be a cab for life, that one. Or at least, until Generation 4 comes out.
[/quote]

I have the Gen 2 Big Twin T, I was a bit miffed when the Gen 3's arrived, but then I gigged and recorded with the BTT again and I remembered what a phenomenal cab it is, I'll not be changing over anytime soon. Barefaced make great cabs, regardless of the generation, I've seen the original Big Baby out and about, great sounding cab.

Maybe if I have a spare grand lying around at some point I might take a look at a Gen 3 but I doubt it.

Bongo stealth… Everything matches….

2012 Bongo 5 string.

The "SR5" is a frankenstien, defretted SR5 neck, OLP body, Bartolini pup and pre-amp.

Had my stealth Bongo 5 for 2 months now, and I think it's be best bass I've ever owned, except for the fact I can't see the damn thing on a poorly lit stage...

[quote name='originalfunkbrother' timestamp='1393244952' post='2377652']
Hi Clarky

I am studying Music Technology at the University of West London. I too work full time so the Foundation degree may be ideal for you. Its 3 evenings a week 1900 - 2100 and in each semester, you will study a Recording Module. Its a 2 year course and if you pass that, you have the option to make it a BA by taking the 3rd Year. If you need more info, just drop me a PM.

Many thanks
[/quote]


Looking forward to the new studios in the basement opening next week?

Stick the 8x10 in a motorised flight case, add some wheels and a steering wheel, maybe a chair to two...

You could call is something like "a car"…!

Barefaced all the way for me, damn the cost…

[quote name='MikanHannille' timestamp='1394461902' post='2391567']
They are! I owned this for yeeeaaarrss. Never failed me at all and good tones I can get out of it wether I plug into a PA or amp.
[/quote]

Misunderstood bits of kit, I use the Pro Rack, used it in the studio for years, and I get great tones from it, but it's a stone bitch to program. I'm an engineer by trade and I think most bassists would struggle to get much from it, the presets are dire.

Dirt cheap on eBay, and I grabbed an XT bean as backup as the tone memory is identical and can be ported over USB from a computer.

Lovely bass, I got a 5 string stealth H for my birthday in Feb, always loved the look, but the sound is just first rate, I have the 2nd Gen Big Twin, the B is thunderous though that.

Bongo 5 suffers the same edge of fretboard issue as the SR5, maybe slightly less so, Ive had mine 2 weeks now and I hardly notice it TBH, lovely, brute of a thing.

I'd kill bunnies for a 20th Anni SR5 though...

[quote name='Mornats' timestamp='1393084556' post='2376044']
Isn't that just a MIM jazz with a slimmer neck and a badass bridge though? Geddy is one of my idols but I tried one of these basses and still think that every Squier I've played blows it away. Definitely not worth the £800-ish quid new in my opinion.
[/quote]

Different pups too I thought, I had a Geddy and a Squire VMJ fretless, the Geddy was a better built bass by quite a long way.

Sure, £800 new is too much, but for £400, its still a lot of bass.

I had the same VMJ, put a Gotoh bridge and some wizard 84's on it and it sounded great, sold it here a while back.

The neck did mark up a bit with round wounds, (I use Swing Bass) but didn't seem to groove at all, just got a bit marked.

Very good bass for the money.

The OLP Tony Levin 5 string is a cracking bass for the money, another shout for the Westone Thunder 1A and the Squire VMJ, particularly the Jaco clone.

A bit more money, but the Fender Geddy Lee signature is a lot of bass for the money, second hand they can go as little as £400.