Ramirez

Multi-FX units/modellers - put in a ‘monitor input’ on XLR (preferrably stereo) to receive a mix from front-of-house that we can blend into our earphones or speaker. In these days of IEMs you can’t call it an ‘all-in one solution’ until it can do that! The larger Helix etc can do it, but it should be becoming standard by now, and not by repurposing return inputs.

Yes the ADAT 500 rack (not Eurorack!) is very neat, and almost ticks all the boxes for me. It does have a few drawbacks that has kept me from buying one though (namely, you can’t access the AD and DA stages independently like a ‘normal’ ADAT expander - both stages are tied to the 500 slot by design, and, most surprisingly, ADAT is not available as a source for the headphone amps, which is the killer blow for me) Cranborne are really making awesome stuff though. I am surprised the EC1 hasn’t made more impact in bass DI/IEM land as it’s an almost perfect, very elegant solution, especially for double bassists using a mic. Having received the unit though, it is a bit ‘posh’ for laying down on a stage floor!

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Hello there, This doesn't really fit in the 'Effects' category, but neither does it fit in the 'Amps & Cabs' section, but there we go...! This seems to be flying under the radar a bit for bass players etc seeing as it's being marketed more as a studio mic preamp, but it ticks so many boxes that it could well be the perfect solution for a lot of people, especially if you're using IEMs. www.cranborne-audio.com/camdenec1 https://www.andertons.co.uk/cranborne-audio-camden-ec1-preamp-signal-processor-headphone-amplifier https://www.soundonsound.com/reviews/cranborne-audio-camden-ec1 The Cranborne Camden is an exceptional microphone preamp, originally available as a 500-series module (I have four in the studio, they really are wonderful!). It was then made available as the 2-channel rackmount EC2, and more recently as the single channel EC1. I'm expecting delivery of an EC1 this afternoon, because having looked at it, it seems like a great small bass rig. The Camden is in essence a very clean preamp with a DI input, but with variable 'Mojo' circuitry with two different flavours, so it can be a very colourful/characterful DI for bass (the Mojo circuitry really works nicely with bass guitars, and I prefer it to most amps). They've also incorporated a link-through socket like a typical DI box, and there is a very well-specified headphone amp built in for your IEMs, into with which you can feed your bass signal as well as a monitor mix from the desk (mono or stereo) or whatever else you see fit. There are other features that may not be of so much use for a gigging bassist (the CAST connectivity etc). Being a microphone preamp, it should also work very well for double bassists gigging with a DPA microphone or similar. Bear in mind though that it a single-channel unit, so no blend options between pickup/mic etc (the bigger EC2 might be more suited for that) I'm obviously a fan, already being the owner of four of the same preamps in a 500 rack, but the Mojo circuitry can really do something special to a bass - it's probably one of the best sounding and best-specified DI box you can find at any cost. And if you do some recording as well, then you have a world-class mic pre at your disposal too!

M88 is very good, and is a great mic for many applications, -it's one of my favourite all rounders - but it requires care on a gig - it has very strong proximity effect, so some EQ/HPFing at the desk is a must. It's also not ideal for handheld use due to high handling noise. Ond a stand in the studio though, it gives the posh condensers a good run for their money! Ond a budget I've always liked the AKG D5, though I've seen many of them break. Shure KSM8 is very nice.

I was going to come and recommend Orchid, but plenty have beaten me to it! They really are top quality. Radial quality at Behringer prices. I have the Classics and a few Micros. However, it's worth bearing in mind that they don't offer galvanic isolation like a transformed based-DI, so can be more dangerous if something does go wrong.

What I find funny is that the guitar/bass world has adopted the term "FRFR" to described something that was already in existence- an (usually active) PA speaker! It didn't need a new name. Calling it "FRFR" suggests that speaker cabinets with an intentionally restricted frequency response is somehow the norm - it isn't outside the guitar world! If you want to use a car analogy, it's a bit like deciding to refer to cars as a "four wheeled motorized transport vehicle" just because you've used a bike all your life, even though everyone else calls it a car.

Aha! Yes, the one you had for sale is what I was thinking of. +1 on the active speakers. Yamaha DXRs are just great things to have! (I have a pair of 10s)

Totally agree with this. They're not the toughest though - my Polytune broke after while. I replaced it a Unitune which works just as well if you don't need the polyphonic tuning.

Because that might make the band (and therefore, by extension, the bass) sound worse? As well as all the other weight, transport, maintenance considerations etc. Is it worth considering a powered/active speaker, seeing as you just need to amplify a sound that you already like? Maybe a 10" or 12" speaker (Yamaha DXR?). Or there were those great looking cabs by Bergantino (I think?) that were basically a line-in powered cab but designed for bassists with external preamps and tone shaping.

I have a PF20T and the 112HLF cab for studio use (I run a studio and I'm a recording engineer) It's nice, and the fact that it acts as a standalone (albeit bulky!) DI/preamp without a cab attached is a very nice feature. It's not very loud, but I didn't expect it to be - if I want to gig it it I can connect one of the XLR outs to a powered cab (another advantage of being able to run the amp without a speaker load), though I usually use IEMs when possible. I did consider the 50, but I read somwhere that the 20 was apparently a bit closer to a B15. Who knows. It makes a very neat pair with the cab, so if you want something for studio recording and a good amp just for playing through then it's a very nice (but expensive, and simple) option. As others have said though, mic'ing a cab is not always done, and even if done, not always used. I have a bit of a love/hate thing with mic'ing bass amps, but the little 112HLF does what I want a cab to do nicely (I prefer it to the SVT-212AV at the studio.) We have an Ampeg V4B at the studio as well. I haven't tested them side by side much, but for me it doesn't offer much over the PF20 apart from the obvious (Ultra Lo/Hi and selectable mid frequencies), but is obviously much more giggable. I'll have to do test soon!

Very similar issues with mine too. Unplayable out of the box, absolutely no neck relief and the pickup way too high. Also a slight nick in the finish. I’ve spent some time setting it up and now I’m quite happy, although I suspect it would need a neck shim to take the action any lower (saddles bottomed out with the action around 2.5-3mm at 12th fret) Some neck dive, and it is rather heavy. Looks and sounds great, I’ve put LaBella 760s on mine.

That must be the one I’ve just ordered! Did you get your lighter one for £349 too?

Mic level XLR out into the mic in on the Scarlett is fine. Then use the gain control on the Scarlett to bring the signal to a suitable level- that’s the whole point of a gain control. You should look at getting your signal at around -18 to -12 on the DAW meters. Is the signal still too low with the gain maxed out on the Scarlett? If so, there’s a problem somewhere.

Personally I'm not a big fan of most 'studio desks'. They almost always force you to have your video monitors too high, which in turn wrecks your neck. It's always best to put monitor speakers on stands, so any kind of shelves for these isn't much use for me. Sometimes it's good to have rack spaces in front of you, but not too much - I think it's best to have the stuff you don't constantly reach for off to the side. It's also not good to have a big reflective surface between your speakers and your ears, which is what what happend with most desk with speakers perched on them. Having said that, the Zaor stuff does look good. I fancy one of the Miza JR desks with one of their 'gripracks', and a pair os matching speaker stands.

I don't think you've understood my point, because you seem to be agreeing with me! It's an instrument that's totally dependent on electronic circuitry. It doesn't matter if that circuitry is in the guitar, in a pedal or in an amp. A bass guitar does not make a nice sound on its own. The simplistic view is that only a bass into an amp is valid. But simply isn't valid if it doesn't give the required sound. Anything goes, because it doesn't really have a natural sound (apart from a pretty useless unplugged sound). It's totally dependent on circuitry as I said, so why are some circuits deemed more acceptable than others? It's nonsense!

It wouldn’t sound fine in the mix if it was played as unevenly and out of time as you say. Listening to solo’d parts is of very limited use. He’s a wonderful player. The ONLY thing that matters is that it works in the mix. It doesn’t exist for any other purpose. Part of being a great player is knowing what works, and knowing when it’s done. Endless retakes and having to come back another day doesn’t get you work. Perfectionism gets you nowhere!

“Nothing else needed IMO” This is really strange. An electric bass guitar doesn’t really have a ‘natural’ sound. It’s a rather weird sounding instrument that relies on a lot of electronic circuitry to work. What difference does it make if that circuitry is in an amplifier or in a pedal or in a computer? Why is an equalizer circuit in an amp deemed more ‘real’ than a phaser circuit in a pedal, for example? The bass guitar doesn’t have sounds that are more ‘real’, ‘organic’ or ‘authentic’ than others. It just has the sound it makes through different circuits. These circuits are then employed for their musical value. If a player/composer/producer wants the bass part to have a chorus effect, then your “Nothing else needed IMO” is not going to get the job done is it, because that “something else” is obviously needed, for artistic reasons. If you don’t want to use electronics, then play a double bass. If you’re happy to use an amp stage to make your bass louder, an EQ stage to boost the low frequencies, a gain stage to add some drive etc. then on what grounds aren’t you happy using other stages for other purposes? I understand that different effects might not be needed for the music you play, but that’s not really relevant to other people is it, and certainly not worth putting in an online thread.

I’m afraid not, I’ve only used the headphone edition.

I use it with AKG K712 headphones, and I find it to make a very worthwhile improvement. Though I prefer speakers, I’m happy mixing commercial stuff with that combination.

This isn't really true, though it's often claimed. Different microphone topologies do not differentiate wanted from unwanted sound (apart from noise-cancelling mics eto, which have no place in the studio!). The dry-to-reflected sound ratio is determined by microphone placement, polar pattern and room acoustics, not by the operating principle. It's often claimed that, due to higher sensitivity specs, condensers are somehow more 'sensitive' to picking up room sound. While true in a way, it is also more sensitive to the wanted sound as well, so the net effect remains the same!

£500 is a good budget. I've just brought a pair of Austrian Audio OC818, and I'm very impressed. The cardioid-only OC18 is only just out of budget! However, as great all-rounders that can do a top job on vocals, drums, amps and instruments, it's hard to beat the Beyerdynamic M88 (and M201). Not as immediately exciting as condenser maybe, but proper great dynamic mics (I prefer the M88 to the Shure SM7 in most scenarios), and you'll always find a place for them in any collection if you buy more mics. That can't usually be said for cheap condensers. Preamps are pushing snake-oil territory for me, unless you're deliberately driving them for some character. The ones in your interface are probably perfectly fine and indistinguishable from high end ones within 'normal' operating parameters (i.e. not being overdriven). That said, having also just bought a couple of Cranborne Audio Camden 500, their 'Mojo' circuit can add real character to a recording (if that's what you want), and make a great bass DI as well. Very impressive.

Good that you're sorted, but for future reference you should upload the original lossless master files (usually WAVs). Converting to lossless does not improve the quality - you can't put back what isn't there. Also, if you convert a lossy file to a lossless format, you risk putting that file through another step of lossy conversion, as will probably happen when you upload to Bandcamp. So, in essence - you have a lossless file (let's say a WAV) that's been converted to a lossy file (let's say MP3. Hopefully high-bitrate, but this could well be low quality). You then convert your MP3 back to WAV because Bandcamps asks for it. As I said, this does not improve quality. Its just a WAV version of your degraded MP3. This "new" WAV version gets uploaded, and then gets converted to an MP3 all over again, further degrading the quality. I understand that sometimes its the only option if the original lossless files are simply not available, but it shoud be an absolute last resort. Aled