Ian Savage
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Roland Bass Cube 100 maybe?
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It's a bit left-field, but could you add an active PA subwoofer from a line-out?
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There's the Tanglewood TEB-12 which has a big fat neck 'bucker and a mini-humbucker in the bridge, short-scale though...and apparently now quite rare from a quick Google! I've got one that's utterly shagged through years of gigging, there's one on Gumtree posted a couple of months ago...
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Go on then, I'll play - the whole instrument collection so you'll have to put up with a couple of six-strings in there L-R MIJ Grabber copy (possibly an Ibanez), was my spare bass until Mani came backstage at one of our shows and signed it ("I *heart* rock 'n' roll, keep it alive!")- now a display piece! Tanglewood TEB12, utterly thrashed over years of gigging, now signed by Duff McKagen and also just for show (it's knackered!) 'Fender' 'Esquire' put together from various bits and 'reliced' - sounds bloody lovely! Bass Collection SB411 (I think), unofficial import bought from the Bass Centre in the late 90s Breedlove Atlas electro-acoustic, wonderful thing.
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WELL under-budget, but wasn't there a SUB five doing the rounds recently at £350? For my money there's hardly any difference sound-wise between the SUBs and the 'proper' Stingrays, and if it's a difference of a few hundred quid...
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[quote name='Beedster' post='919267' date='Aug 9 2010, 08:34 AM']Thanks Charic, yep, I've been looking there a lot, thinking of running this [url="http://www.dv247.com/computer-hardware/m-audio-projectmix-i-o-control-surface-with-motorized-faders--30083"]http://www.dv247.com/computer-hardware/m-a...d-faders--30083[/url] into a Mac running protools. Good start? Chris[/quote] That looks nice, I love the automation and motorised faders on my Yamaha 01X - not only because they're sexy and impress anyone who comes 'round to play but because they make re-visiting old mixes and creating rough mixes on the fly SO much easier than pissing about with a mouse. As the possible eight-channel limitation has been mentioned, these are very well regarded as an ADAT front-end (about the only bit of Behringer gear I'd recommend for 'pro' use, to be honest ) - [url="http://www.dv247.com/studio-equipment/behringer-ada8000-ultragain-8-channel-a-d-and-d-a-converter--18218"]http://www.dv247.com/studio-equipment/behr...onverter--18218[/url]
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I'm Logic through-and-through now, learned on Cubase but since I made the jump to Apple I'd not go back. Having said that, I've never tried Reaper, just started messing around with GarageBand when I got my first Mac and loved it - the learning curve's made a lot less steep by transferring through GB->Logic Express->Logic Pro and to me the whole workflow's more intuitive for recording actual instruments than Cubase's. If you plan on doing a lot of MIDI work I'd hesitate, but from the sound of your studio thread you're looking at more recording and editing band performances, and for me Logic WINS on that front.
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Music Man SUB, for my money.
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[quote name='Stag' post='919157' date='Aug 8 2010, 11:40 PM']Does anyone have any suggestions on this topic when considering my amp (SVT 5 Pro) has its fan/heatsink exhaust on the left hand side, with an air INLET at the back?[/quote] Just remember that hot air rises, so try not to put the amp on top of anything that's blowing warm air out of the back - I take it the SVT's not rackmount if it's got its outlet on the side?!?
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You need to work out (or find out) which direction the fans in your amp work (if it has them); if they draw air in from the back and spew it out of the front you want to add any extra fans blowing air in from either behind or beneath the amp (not from above, or you'll be blowing the hot air expelled from the amp straight back in). If they pull air in from the front and blow it out the back you first need to make sure there's enough space for the hot air to get out, and have any extra fans blowing cold air into the front and/or blowing ACROSS (not into) the back to get rid of the warm air as quickly as possible. Of course, if your amp doesn't have fans a/ it is a silly amp b/ that was two minutes of my life wasted, and c/ any extra cooling you can get will be worthwhile, just keep any air you blow going in the same direction!
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My intial thought is that they must have a hell of a vocalist! Yeah, as previous posters have said, get as close as you can to everything, but do your homework most on the ones that have definite endings on record so that you can some spend rehearsal time nailing the ends of fade-out songs. I find that usually someone's got to give a signal that the last four bars/two bars/bar/end is coming, and it's usually the singer or the drummer, so work those out early in rehearsal and make a note on the setlist...
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You're probably best either making one up yourself (if you're any good with a soldering iron) or getting someone to make one up for you - this guy apparently is pretty good - [url="http://www.wix.com/kablkabl/kabl"]http://www.wix.com/kablkabl/kabl[/url] but what you want is gonna be fairly hard to find off the shelf, so it's worth talking to anyone you know who can handle an iron competently! The cost of the parts (even with decent Neutrik/Switchcraft jacks and Klotz/Van Damme/whatever cable) won't be more than a tenner, add five quid or so for labour - if I still had a decent length of balanced cable kicking around I'd do it for you - hang on, I might have, I'll check in the morning when I'm not pissed
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I've never felt the need for different bass SOUNDS (I've only ever been in rock bands on bass, so no fretless/five-string/whatever for me), but back when I only had one bass I snapped a string in two separate gigs in the space of a month. So I got another as a spare as soon as I could afford it, never ever gigged without a spare since - and never broken a string since I daren't gig without a spare now, as the strings that snapped back in the day (over five years ago now!) were the A and D, which made things pretty uncomfortable to play. Mind you, you hardly ever see double bass players carrying a bloody spare, and their strings are probably about as hardy as my electric bass strings, so I suspect I'm taking two basses into the shower when I should just take one.
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Cass later cropped up playing behind Gary Moore in Scars, if anyone ever came across them - dull band IMO, but a great rhythm section. And considering they were a three-piece, you can tell where I feel the 'dull' came from
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Can I also suggest: [url="http://www.soundonsound.com/forum/postlist.php?Cat=&Board=DESIGN"]http://www.soundonsound.com/forum/postlist...mp;Board=DESIGN[/url] [url="http://www.soundonsound.com/articles/SoundAdvice.php"]http://www.soundonsound.com/articles/SoundAdvice.php[/url] And if you don't have a copy of Alton Everest's 'Master Handbook of Acoustics' from your previous studies, I strongly suggest getting one.
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I'm an engineer and bass player in equal measures, and from an engineer's point of view the closer to the bass you can take the DI the better in terms of signal quality and noise (obviously if your sound relies on stompboxes you've got to take the DI after those), but from a bass player's point of view I'd rather the engineer took the DI from my amp, as I used to footswitch the amp EQ around a lot for different songs, filling space behind guitar solos etc and it seemed to just be a waste of time if the out-front sound was just my bass. Plus the fact that I muted for tuning from the amp as well, the object of which is defeated if the bass sound is still coming through the PA while tuning. As far as Ashdown DIs go, the cheaper ones (i.e. the MAG series and the Electric Blues) did indeed have shockingly poor DI outputs, which were invariably noisy and sometimes even distorted. Haven't engineered one in ages though, so the newer ones might have improved - never had a problem with the ABM series upwards. I'd actually rather take a mic feed from in front of the cab given the option, but for convenience and lack of spill (particularly on smaller stages) DI almost always wins. And of course, most engineers won't have more than one decent bass mic (always made me smile in my last band when the drummer turned up with two kick drums one of them was a 'dummy' just for show, but so many engineers pulled a funny face when the kit was being set up)...
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Hmmm, only around the corner from me then....is the Attitude a Chinese or Korean-made job? -
As far as sequencer goes, I think your guy's right about Logic/Garage Band - the beauty of it is though that you can start out with GarageBand to get your head around how it all works and then move on to Logic (since it's there anyway!) if you find yourself needing to do things that GarageBand can't do, and almost everything you've learned in GB applies to Logic as they're pretty much made by the same people. 2GB of RAM should be fine for what you're looking at doing with it, the thing I found with my MacBook Pro though was that to get more than about a dozen tracks of audio in/out simulateously I had to start recording to an external drive, as the internal one (5600rpm as standard, IIRC) wasn't fast enough. You can pick up an external 7200rpm drive fairly cheaply though, should you find you need one further down the line.
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And now eBayed! [url="http://shop.ebay.co.uk/smokingbeagle101/m.html"]http://shop.ebay.co.uk/smokingbeagle101/m.html[/url] -
...but any mentalist bassist could do a lot worse than this in their preamp section! The CSA are out to kill me, so I'm breaking up my PA rig Top to bottom- 2 x Rane M30 mono graphic equalisers - US-made, balanced/unbalanced jack connections, 6dB/12dB range switches as well as EQ defeat switches. [b]£40 each or both for £75.[/b] Behringer MDX2000 Composer stereo/dual-mono compressor, fully balanced connectors throughout (jack and XLR in/outs for the two compressor sections, plus balanced jack in/outs for the sidechain connections); loads of control, one of the 'original' models before the Composer Pro and whathaveyou came along which are generally regarded to be not as good! [b]£30. [/b] And the afore-mentioned QSC USA850 amp, an absolute workhorse albeit fairly basic - balanced jack and binding post inputs, binding post/banana plug outputs. Provides 425W per channel into 4 ohms (that's real Watts, not Disney Watts ), 270W into 8 ohms - a bit tatty cosmetically, this one (a bit of rack-rash that's become oxidised, a few marks on the chassis) but works perfectly! [b]£120[/b] if you can collect it, might cost a tenner or so in postage as it's not light. User manual here: [url="http://media.qscaudio.com/pdfs/manuals/discontinued/USA_legacy_manual.pdf"]http://media.qscaudio.com/pdfs/manuals/dis...gacy_manual.pdf[/url] I'm in Walsall, West Midlands for collection or trying-out, and could throw in a few goodies for anyone wanting them PDQ - got the 1m 12-way loom I made up for the effects units (2 x insert send/returns for the compressor, four balanced sends for the EQs (as well as the other two EQs I was planning to add) and another four which I'd made up unbalanced for an outboard stereo effects unit - I'll throw that in if anyone wants the two EQs and the compressor together. And for anyone wanting the amp, I'll throw in the two heavy-duty speaker cables I've been using with it (roughly 4m and 7m, terminated in Speakons). Hit me up with any sensible offers, the bastards truly are out to grind me down again... -
...but any mentalist bassist could do a lot worse than this as a power section! The CSA are out to kill me, so I'm breaking up my PA rig Top to bottom- 2 x Rane M30 mono graphic equalisers - US-made, balanced/unbalanced jack connections, 6dB/12dB range switches as well as EQ defeat switches. [b]£40 each or both for £75.[/b] Behringer MDX2000 Composer stereo/dual-mono compressor, fully balanced connectors throughout (jack and XLR in/outs for the two compressor sections, plus balanced jack in/outs for the sidechain connections); loads of control, one of the 'original' models before the Composer Pro and whathaveyou came along which are generally regarded to be not as good! [b]£30. [/b] And the afore-mentioned QSC USA850 amp, an absolute workhorse albeit fairly basic - balanced jack and binding post inputs, binding post/banana plug outputs. Provides 425W per channel into 4 ohms (that's real Watts, not Disney Watts ), 270W into 8 ohms - a bit tatty cosmetically, this one (a bit of rack-rash that's become oxidised, a few marks on the chassis) but works perfectly! [b]£120[/b] if you can collect it, might cost a tenner or so in postage as it's not light. User manual here: [url="http://media.qscaudio.com/pdfs/manuals/discontinued/USA_legacy_manual.pdf"]http://media.qscaudio.com/pdfs/manuals/dis...gacy_manual.pdf[/url] I'm in Walsall, West Midlands for collection or trying-out, and could throw in a few goodies for anyone wanting them PDQ - got the 1m 12-way loom I made up for the effects units (2 x insert send/returns for the compressor, four balanced sends for the EQs (as well as the other two EQs I was planning to add) and another four which I'd made up unbalanced for an outboard stereo effects unit - I'll throw that in if anyone wants the two EQs and the compressor together. And for anyone wanting the amp, I'll throw in the two heavy-duty speaker cables I've been using with it (roughly 4m and 7m, terminated in Speakons). Hit me up with any sensible offers, the bastards truly are out to grind me down again...
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Quick bump before eBay tonight...
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You want a dedicated bass one really, otherwise the frequency of the sweep's too far out of the range of your fundamental notes. A guitar wah on distorted bass can sound pretty cool, but for general bass use you want a 'proper' one.