MTA

Nearly, its markt@holburnhifi.co.uk

That's the exact same problem I think I've got. I hate the way the sansamp sounds through it... when ever i want to turn up the drive it just gets wierd and buzzy. I want to turn up the drive and get that awesome growl that you got on those last blessed recordings.but I wouldn't sell the Sansamp because it's so useful for its recording applications.

I just want a tube power section because I'm certain they'll fill the void. I'm in love with the Orange AD200B... it's so pretty. Is there anywhere I could try it out.

We practice on a Sunday just off market street, so i might just take the whole band down to play the open mic night! yeah!

Yeah bring the whole band down starts from around 8 usually depending on when people arrive.

Get yourself down to the Moorings any Sunday from 8 and have a play with our SVT2Pro and 410HLF and see what you think.

Seems to be fixed now

Gigs - Goldblade

Ah so that was Charlie s mum, i couldnt see. she did a good job

I had a shock when i found out, I had to look 3 times in awe.

It was still there last night too, Maybe we should do a combined Ice with chilli sometime

If you want to look a at another good studio, have a look at the-byre.com It has a great room, desk, monitors all types of recorders and a good price for the quality you will get.

does she play in a group or anything? she needs an actual band of some sort, to play for 2 hours on the 5th of september

Not in a band anymore, But I think there is one at the Uni Try get in touch with the bass player form Ghost of Bongo I know he plays too.

Tom What do you need? I have some double Tenor pans at home and a wife that plays

Do you know if the recording setup is gonna be sorted for next weekend?

I am hoping it will be ready, I have the connectors needed now so i will be making the cable up in the week.

Well the Basic setup worked very well, I just need to be careful with the volume now, due to the use of much less compression it doesn't sound so loud. Now I need to get the rest of the inputs sorted so we can get the Recording back on the go.

It will take me a few weeks, but It will be much more open sounding than before, Already i have set a load less compression over the whole system. But it will be work in progress for a few weeks, So if its not right I am working on it

It will be fixed, but we are just waiting on parts to arrive.

if anyone's needing more help reading this thread listen to the tracks on this link from these white, dutch dudes:

Releases*by Lefties Soul Connection.

and tell me what makes them sound different to any local band's output that you've heard, then tell me where I can go to get a recording that sounds like it

That should be fine to make it like that, but its not just the drums, no real distortion on the guitar etc so as long as your sound will work with this style then I dont see a problem.

To be honest what we're looking for is some kick ass demos. We want to just book in to a decent studio for one day and do take after take live, until we get a good one. Either do the vocals live, or do them seperately at home. I think this would actually be cheaper and more efficiant than spending a lot of time with lots of mics doing lots of mixing, but could be wrong.

Tom, As long as your ready to go Live then its not a problem. you will get bleed but this would be fine if there were no overdubs. I agree that it would be better to do the vocals after not only for the bleed but they are the thing that really need to be right and need a bit of time to do.

Thanks Mark, I figured that it was pretty much down to the room, so in terms of studios with good rooms and mics what are we looking at? I'm pretty sure The Mill and The Byre have decent facilities, but I would reckon The Byre maybe has more experience working with big live bands.

The byre has a great main room for Drums and live open mic use, a nice valve large diaphragm mic would be my first choice like a neumann tlm103. there are quite a few different ways to mic up in this way it just depends what sort of sound your after. but if you have the time to play then it really does work.

any chances of getting some answers that relate to my original post?

Tom Im sure most places can do this sort of recording, Just need a good room and some good mics, Usually if you dont close mic some people think it might sound weak not punchy etc, But it is easy enough to do with the right room.

2 Bands so far, we need some more before we can start,

oh and can someone explain how Trannyvan being from england is at all relevent to his opinion? racism is not fucking tolerated on this site so fuck off with your cuntish attitude.

Very Right, im Also not from Scotland, I hope that wont make a difference...

i have no opinion on "no soucis", i didn't even listen to it- i just made a judgement call. everything posted recording wise on here related to MTA and moorings pirate is average. i didn't even listen to it.

ya.

work:

ihave no formal qualifications. i read a lot. i have spent the last ten years or so recording stuff- first on four track, then 8 and a bit on digital. i like music, i like sounds, i learn if i need to but i keep my ears alert. i was down in London manning the desk and setting up mic's for my friend who was recording stuff with his band( really only as a set of ears and as a holiday then later totally in charge, v. nerve racking) , i enjoyed it and it sounded really good- i was really surprised how much i knew, particularly compared to the studio engineer who threw a hissy fit because he had a degree and the band liked what i did over him!

ach it was great fun, i made no money but i have a cdr that i can really say i "produced" or engineered... and had a great couple of nights on the piss in camden!

i'm really considering trying to do it again!

hur. i suppose it was "work", i spent the money on hiring a set of good mic's though...ach well. and on lager- i hate being reffered to as scotch by fucking cockney fuckwits...

Glad you made the edit

Yeah must be a nightmare tweaking the level and EQ on the desk in the same room you've been working in for months or years, pure backbreaking work, probably takes at least a year in college to learn those hardcore skillz. Good job we can all listen to it at a shitty bitrate on myspace in order to hear just how amazing the sound is.

Anyway, I was just pointing out that the only people posting in this thread is you and flash, who obviously have a vested interest, no need to take offence.

No Offence taken,

You cant treat every recording the same, so every mix is different. It doesn't matter if you have base settings etc they will still need to be changed, A year in collage wont really help but 10 years in a pro studio will

So is anyone willing to say something positive about this crap band other than the 2 guys who've just made a bit of cash off these kids by pressing record and burning a cd?

btw, if you're going to pay for a live recording, you might want to do it when you've got more than 2 people in the audience.

Wow you have just shown your total lack of experience for live recording, If only it was as simple as pressing record and burning a cd.

If you knew the smallest little bit about it you would know there is a hell of a lot to do to get it anywhere near presentable, first all of the bleed from the PA/Monitors, then you have the whole aspect of getting the blend of EQ to compliment the Room PA,

Maybe come back when you have actually done anything worth looking at yourself and then we will pick it apart,

As for making a bit of cash, Do you expect me to work for free in my own time?? Im sure you wouldn't!! It takes a fair amount of time to do a live mix.

Hi Colin, Small changes are level changes really, If i get in to edit mode it takes a long time to do,

Drums are not too hard if you know what your doing

We had a much needed re-cone on the Monday following this gig. It had been booked for a few weeks, but the bits took a long time to come. The low mid on the RHS was totally crispy.

The centre monitor on stage is blown and STILL awaiting a replcement driver, so it is presently difficult to hear everything on stage, especially with lots of players. The factory that was subcontracted to produce them has gone bust, so the manufacturer is in process of moving the tooling elsewhere, so this nusciance circumstance may persist for a while yet. Not a problem for 3 piece bands though LOL.

But I also think there is too much clutter with the STK. This is something that I've commented on before at jams, and listening to their recorded stuff. Please use your instruments more sparingly! It seems like there is guitar, keyboard, sax, and vocal all competing for the same space.

Also one other Problem I had, was the Vocal into a delay box. So everything the vocal mic picked up was delayed also, which in turn made everything very muddy, Maybe let the delay be added at the desk side then it can be gated to filter out all but vocals.