Yup, first thing I did, same stuff happened. I'd open it up and have a poke around in the electronics but I don't want to void the warranty.
Thanks. I think there are other wiring problems too, it seems to have generally got quieter by about 10-20dBs somewhere between receiving it and now. Must be a short or something in there. Strange and annoying. Guess I might have to send it back.

I'm a guitarist who's just started learning bass. Just got my new bass yesterday (Ibanez SR505), and I'm having a problem with the blend control.

I assume when it's in centre position it should be just as loud as when it's turned one way or another? Instead, in centre position it drops in volume by about 10dBs.

I can only think that it's been wired up strangely, unless this is normal for some reason.

Thanks for any help
First, how much are you willing to spend?

There are some very good drum sample plug-ins you can use in Reaper such as EZDrummer or Superior Drummer (there are others too, can't remember many names though, I'm sure someone else will chip in). Look it up and see what you think.

If you need any help getting started with them, just ask
Well you can't plug the microphone into your computer without an interface, so...
Turn to the left you'll hear more guitar (or whatever you're inputting), to the right you hear computer.
VST plugins are done in C++, Steinberg give out a SDK for them, if that helps.

I have to say I'm finding it difficult to get started with it though. I've been doing some C/C++ at uni the last two years, but I really don't know where to start with this. Any advice would be appreciated
There's a 'mix' knob on the front where you can blend from computer input to mic inputs. So you could have it entirely what's coming from your computer (what you want), or entirely what you're recording, or any mix of both.
Yup, I'm pretty sure it should be compatible with all three (someone correct me if I'm wrong).
My setup:

Guitar -> amp -> mic (SM57) -> interface (M-Audio Fast Track Pro) -> software (Reaper) -> monitors (KRK RP5s)

(Technically the monitors are connected to the interface rather than the computer)

You can do all your mixing in the software you use, no need for a hardware mixer. You just need an interface to connect your guitar or microphone to your computer.

Hope this helps
So Reaper isn't recognising that EZDrummer is on your computer?

Have you copied the .dll file from the EZD directory into the default VST plugin folder?
Dunno if it's any good to you, but I've almost finished programming the drums for Bleak using EZDrummer DFH, I'd happily send you a copy when I'm done if you wanted it.
Why hate it because you're unfamiliar with it?

There's nothing really to be unfamiliar with, as people have said, it's just having a battery in it to expand the range of the EQ. That's it. Doesn't really take any getting used to.
Quote by Xenoyr
A few minutes of footage from our show on June 13th (sound isn't that clear but you get the drift):

Sounds good, nice light show too
Quote by webbtje
His acoustic stuff is the shit.

"It's quite emotional music, but without being... gay"
No need to make a new thread, you've said the exact same thing twice in your old one...

Make sure Windows and Reaper aren't set up to use the same sound drivers. That's what screwed me over when I got it. It was something like that anyway. I recommend ASIO4ALL for use in Reaper (pretty sure that's what I used... I don't have it right now so I can't really check).
Quote by Sid McCall
What videos are you seeing? A lot of the time they just use a really long speaker cable through a wall box with a cab in an isolated room on the other side of the wall so they can tweak knobs in the control room while the cab is miced up in an acoustically treated room.

Yeah this is how it's usually done. Kinda looks like they're only using the head, but it is connected to the cab. Just more convenient, especially if you're playing pretty loud through the cab.
Yeah I was nervous at first even when I was just recording myself on my own. Same as with playing live, you just get used to it after a few times.

Don't worry about it
Quote by CoreysMonster
I'll take these guys over Periphery, anyday.

Forgot to post this when it came out, so for anyone who hasn't seen it, here's the video for Concealing Fate Part 2.
Quote by patrickodang
Is GP 6 worth the $60? cause honestly i hate spending money on programs. it costs them like 2 dollars to copy onto a CD and they charge us $60 for it.

anybody know of a way to get it free?

Do you have any idea how much work goes into writing programs like that?
Sounds interesting if shipping to the UK isn't too much. I'll have a look at which amps you decide to go for and consider it.
That sounds awesome!

When did you start working on this, and how many amps have you designed/made before?
Quote by The_Godfather
assuming one mic in front and one behind the cone; standard way of doing things.

Kinda need to specify that... 1. You can't always do that with a closed back cab. 2. A lot of people put both mics in front.

Quote by The_Godfather
I takes much longer to perfectly phase align everything than it does to just put the mics in the right place in the first place.

Yeah, I agree, but I've only been doing small recordings so I found it easier to just align the few tracks I had.

Oh, and about the 3:1 thing, it says it's for multiple sound sources, not one speaker cone:

"Two microphones, intended to pick up two sound sources must be placed apart at least three times the distance that either microphone is from it’s intended sound source."

I hope we aren't confusing the TS too much here...

EDIT: ^^ Jof gave a good explanation of phase. It's difficult to describe in words though, finding a graphical explanation would probably help a bundle.
Quote by The_Godfather
Even with two mics, it's much more a distance related problem than it is about the angle. As long as you keep the distances of the two mics from the cone about the same, a simple inversion of one of the signals will make the recording sound as it should.

What? If you have two mics the same distance away they should have their phases aligned and be fine. If you invert one of them you'll end up with almost no signal...

Quote by The_Godfather
Of course you should always use the 3:1 rule if you're thinking of placing both mics on one the same side of one cone, that is for every 1 inch away from the source, the mics should be 3 inches apart to avoid phase issues. If you're micing two different cones on the same side of the amp may well still be difficulties with crossover between the two mics.

Never heard of that before... What do you mean by 3 inches apart and why does it matter?

Quote by The_Godfather
All of this is completely irrelevant if you decide you have the time and patience to go through all the audio recorded and manually phase align every track for a specific instrument. Then you can pretty much put the mics wherever the hell you want.

Yeah, that's basically what I've been doing. I find this easier than painstakingly aligning the mics. At least for small recordings.
Quote by richie7410
technically, the best place to mic an amp is more towards the edges, not at the edges, nor in the centre, but generally somewhere between the two, as this is the place where the sound waves clash with each other, making them constructive, hence making them louder.

Uh, where did you get this info? Sounds like bull to me. An article published in the AES (Audio Engineering Society) Journal recently showed that the only real difference in micing off-centre is a small, choppy decrease in treble response. Also, changing angle has very little difference until you go beyond 45 degrees.

Obviously micing an amp is very subjective, and micing off-centre can definitely sound different, but your reasoning sounds very suspicious, and saying it's 'best' or louder to mic off centre just isn't true.

EDIT: In addition:

Phase is only relevant when using two or more mics at once to record an amp. When two mics are different distances away, some frequencies will arrive in phase at both mics, and some out of phase (most likely somewhere in between). This means that some frequencies will be boosted, and some cut, resulting in a (usually) undesirable sound.

I tried to find a good link to explain it properly but I'm slightly inebriated, lol.
^ It's got 2 ECC83s and 1 ECC82 in the preamp.
I think Katatonia's DVD was in 5.1. Opeth's latest DVD had it too, I believe.
Quote by munkymanmatt
By quality I meant the realism of the sound. RSE sounds a lot more like a guitar/drums than midi does, imo.

I don't think you read/understood what he said...
Opeth - Blackwater Park - 3
Agalloch - The Mantle - 3
In Mourning - Shrouded Divine - 3
Necrophagist - Epitaph - 3
Cynic - Traced In Air - 3
Quote by frnzd
Described Mikael as making a sound like a grizzly bear being poked by a red-hot poker.

Ha, I'd like to read this review. Shame I bought the Guardian rather than the Times yesterday.

And yeah, the clapping was pretty damn awful. Must've been kinda frustrating for Axe, lol.
Royal Albert Hall show was awesome. Weird technical problems though...

Quote of the evening (not from Mike) during the quiet 'time is... now' part in Dirge:

In a slightly pained voice: "where is ****ing metal?! "

Made me laugh.
^ Ahem. I think you may need some revision on microphone terms.

Dynamic (e.g. SM57)

Polar patterns:
(refers to which direction(s) the mic picks up sound from)

Omni-directional (same as multi-directional, omni means 'all') - picks up sound from all directions
Cardioid - directional, picks up more sound from the front than sides or back
Hyper- and Super-cardioid - varying degrees of directionality, both more directional than normal cardioid
Figure of eight - picks up from in front and behind, but not the sides

There are some others too apparently, they're rare.
Blackstar, eh? A Series One 200 I presume? I tried one a short while ago, it was VERY nice.
I have the KRK RP5s and I'm pretty happy. I've heard lots of other people recommend them for that price range too. I think they're pretty good to get you started.

You'll also want to make sure your room has reasonable acoustics, it'll probably make more of a difference than the actual speakers you buy. To be honest, there's probably not much you can do without investing, but it's just something to be aware of when mixing, and for the future.
Quote by Tim Charles
Album recording is coming along well!

We're re-amping lead guitars tonight, and have just started clean vocals as well. Violin will be recorded later this month and it'll all be recorded by May!

If anyone has any questions about the recording process, feel free to speak up.

So what amp did you decide on in the end? Fireball?

Glad you're back Tim, this thread was getting a bit slow
Very nice looking, wish I could do that