WinterMute

Bought Uros' PJB BG300 Super Flightcase. Excellent chap to deal with, great communication and the unit came well protected and on time. Deal with confidence.

The line6 Pod XT kit has a USB socket that allows it to act as an interface in it’s own right, you just select it as the input device in the DAW and it passes the audio through digitally. I don’t know if Digitech does the same thing.

I think the multiple input approach works really well if you're unsure as to the tone you're going to need in the final mix, if you're certain it'll be the one you're using, print it and damn the torpedos.

Using plug-ins for tone is at the mercy of latency, as plug-ins add latency to the round trip from bass to monitors via the DAW. Thunderbolt interfaces help as do hardware accelerated systems like Universal Audios UAD2 systems. I use both approaches, a Sansamp pre or a Pod XT Pro into the DAW, with bass DI’d to a separate track with plug-ins, then you can use plug-ins during the mix as well to achieve the mix tone you’re looking for.

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.

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.