WinterMute

Yes, physically, you can always turn the amp up and down.

The further you are from the speakers the lower the SPL and the more the room plays a part in the sound you hear as reflected sound become a larger component reaching your ears.

You will have altered the acoustics in the room as the sound will be active in the space behind the speakers, which will depend on the design of your speakers, rear v front port etc.

6 hours ago, Leonard Smalls said:

I read the book, and thought at the time it was destined to be a film or tv series! Might give it a go, though I found the book slightly annoying in the egomania stakes - I'll bet this doesn't tone it down! and mixing that with 70s style MOR might be pushing it just a little to far for li'l ol' me!

Anyway:

https://www.theguardian.com/tv-and-radio/2023/mar/03/daisy-jones-the-six-review-not-even-elviss-grandkid-can-save-this-70s-rocknroll-saga

There you go, Mumford's on the songwriting team... I knew I detected his dreary style... 😉

I don't know, the performances are great, and the story is interesting enough, but I can't help thinking that the original songs composed for the show just aren't very good...

Maybe they are going to get better as the show progresses to indicate the growing experience of the band, the song at the end of the 3rd episode isn't bad. 

That would be quite impressive...

I'll probably watch all of it, but Spinal Tap is the only mockumentary I can think of with "decent" songs and they were all pisstakes.

You could do worse than this Lakland on the marketplace I think...

On 02/10/2008 at 02:59, En_Djinn said:

[quote name='steve-soar' post='276597' date='Sep 3 2008, 11:11 PM']are there any other producers that are bassists?[/quote]

Can't believe no-ones mentioned Mike Howlett.

Bass player for Gong.

Put together a band called Strontium 90 that later found fame as The Police.

A founding member of the Record Producers Guild, now called the Music Producers Guild (of which he is currently chairman) [url="http://www.mpg.org.uk/home"]http://www.mpg.org.uk/home[/url]

Grammy Award winning producer, check out the biography: [url="http://www.mikehowlett.co.uk/"]http://www.mikehowlett.co.uk/[/url]

Gratuitous groove link http://basschat.co.uk/public/style_emoticons/%3C#EMO_DIR%23%3E/smile.png


Not like I'm a fan or anything http://basschat.co.uk/public/style_emoticons/%3C#EMO_DIR%23%3E/wink.png

I worked with Mike when we were lecturing together at UWL/LCM in London, not only is he a fine bassist and producer, but he's a thoroughly decent fellow too.

Weird in that 70's slightly spaced out way, but a genuinely fine human being.

20 hours ago, Frank Blank said:

I use a QSC K12.2 via a HX Stomp and the guitarist in our duo plays through a QSC K10.2 just plugged straight in.

Yup, that was my rig for a while now have the Quad Cortex into the K12.2, it's absolutely perfect for rehearsals and the like, I've even taken to recording it for a bit of room.

The RCF and FBT variants are equally good, and anything with a decent sub is going to move serious air.

Could I have continued to play a £250 OLP Tony Levin and had a much fun? Oh yes. 

Do I enjoy plugging the 20th Anni SR5 is and making a racket? Oh yes.

Can I afford to pay a craftsman like Alan Cringean to make me a fretless bass that is a work of art and sounds brilliant? Oh yes.

Are all three lumps of wood (bits of metal, bits of wire, bits of plastic, carbon fibre, fanatical devotion to the pope...) Oh yes.

Lucky me eh?

On 10/02/2023 at 19:20, Maxcat said:

This is not helping me...

19 hours ago, peteb said:

 

Does anybody actually bi-amp any more? How very 80s...! 

 

Actually, when I used to sort of bi-amp (back in the 80s), I used a pre-amp into a PA power amp, with one side going into a 410 and the other into a 215. Sounded great, but totally impractical when I ended up in a band without a van and roadies! A very different looking set-up to yours! 

 

I had a GK800RB bi-amped into an ampeg 8x10 and a TE 4x10 and I could get it all into a Renault 19... Played havoc with the fuel economy...

Fingers crossed for a boring recovery from this point then.

Do the physio, even when you think you can't, it's not fun but it's absolutely essential.

Blimey, SM666 cheaper than the SM665 sets... 

Looks like I'll have some spare 30s kicking around if anyone needs them.

There's just no point in trying to claim any single player is "the best", too many variations, best at what? Jazz? Soloing? Spitting blood while wearing ridiculous boots? I think uniqueness of voice is the most important element, and that is just behind serving the needs of the song, which McCartney always seemed to do very well, as did Entwistle, as does Geddy Lee, depends entirely on context.

No-one gallops like Steve Harris, no-one hit 16s like Pastorious (maybe that odd bloke in Vulfpeck), no-one one is as versatile and creative as Tony Levin, no-one is a dependable as Carol Kaye and no-one, but no-one held it down like Cliff Williams... Who's best? No way of telling.

I don't like the Beatles, I have no time for McCartney's solo work, but he's a phenomenal songwriter and bassist.

This isn't Pokemon, there can be more than one.

Another nod to Sonarworks Reference for hearing curve adjustments, works a treat, but makes the room a difficult listen for anyone else...!

Try investing in a good Spectrum analyser as a visual representation, I use the Nugen Audio Visualiser https://nugenaudio.com/visualizer 

You can look at the reference tracks and compare the output curves.

Tried a few 6ers, always find the neck profile too wide for my small hands or, if the profile is ok, the string spacing is too tight. 

I love the idea of more strings, if I were a braver man I'd buy a Stick, but time and opportunity are no-ones friends these days.

Kraftwerk and The Human League et al didn't need strings...

7 hours ago, NikNik said:

Years ago, I tried a BB Sonic Maximiser and whilst it tightened the sound up I just thought that it didn't sound like me playing. Not a very good description, but I A/Bd it several times and preferred it out of circuit. It went back to the shop.

BBE sonic maximiser is an aural exciter, not a compressor, it uses EQ and phase cancellation to enhance higher harmonics and clean up mud. I'd not expect one to have much effect on bass unless you're going for some ultra clean fretless Micheal Manring type sound.

Global EQ, very useful. IR loader block, very useful. 

The different performance modes don't help me much as mine is a studio tool first and foremost, but I can see how they'd be great for live work.

The modified capture process is working very well I think.

A good update so far.

I'm 58, most "modern music" of any era is crap, time dissolves the rubbish and leaves us with the good stuff.

The main problem today is the ease of music production, I say "problem" because it really isn't as the world needs more music, but anyone with a laptop can throw a tune together in any number of apps that sounds like anything else out there. More power to them, but as we all know, there's a deal more to great music than a few loops and a mixing algorithm.

Talent will out eventually, but the signal to noise ratio has been going the wrong way for a couple of decades now, and it takes time and effort to sift through the rubbish to find the great music that is still being made.

8 hours ago, Bassman666 said:

As far as I know its factory. I'll get a picture of the inside of the cavity. There is a Warwick stamp on the lower of that cover that you can see in the photo (although it's partly faded/rubbed off). I've seen others of this age and they looked to have the same cover. It's held on with captive nuts and screws rather than wood screws and it all looks original to me 

7 hours ago, tauzero said:

The cover is identical to the one on my 1988 Thumb NT 5.

You're both entirely correct, I'd gotten used to the more modern version, my 87 had the same arrangement.

Do you know what changes were made to the control cavity? That plate doesn't look factory standard for a thumb, or was it like that when you got it?

Almost everything in a mix benefits from compression and limiting of varying levels IMO, modern mixes have a very limited dynamic range and, unless you're recording binaural jazz or classical, been able to rely on an instrument staying where you put it is very useful.

Live is no different, if you don't have a compressor on your rig, you can almost guarantee that the FoH engineer will strap one on. I find being in control of tone shaping before it reaches the PA or DAW yields better results, but I am a recording engineer and I do understand compression and limiting, it's a complex subject that causes arguments sometimes.

Of late I've been using a lot more limiting to allow dynamic variation but also allow some control for the peaks when I get particularly aggressive. YMMV.

Installed it earlier, but haven't had a chance to give its more than a cursory glance, some of the new features look very useful.

I had the 87 version with the integrated Schaller bridge, easily the best Warwick Thumb made, sold it when I thought I'd given up playing but actually hadn't...

Just out of idle curiosity, what trades might you be interested in?

That DPA mic lives and dies by the capsule suspension, some very odd harmonics in the strings after the bridge.

I have to say they nailed it for live performance, not so much in the studio.

The first rule of progressive rock....

Oh, b*gg*r.

8 hours ago, mario_buoninfante said:

... aaaaand, that's me!

It's unlikely for me I'm afraid, I was the technical director for London College of Music for 7 years, my office overlooked the main performance/rehearsal space and I was subject to a daily barrage of bad jazz from people learning how to play it (or not as the case may be).

Very occasionally someone who could play would turn up, Branford Marsalis memorably, and I could sort of see the appeal but I'm afraid too much of it either goes over my head or is just meandering wibble...

A good big band makes a decent noise up close.