GAS - Gear Acquisition Syndrome

I am afflicted.

Oh yeah I have a used EH noise gate on the way to me.

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I believe so!

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I am afflicted! Swore I’d pick up the bass again without spending heaps of money since I bought pretty decent gear 35 years ago, but then my Euphonic Audio VL-110 looked so lonely all by itself, and I really shouldn’t be running 400W through it, and there was one at GC for $100 less than I bought mine for back in '97…

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Mentioned that awaiting the P (40th anniversary Squier with La Bellas)

Well, it happened yesterday: sounded sooooo good via the same setup, unbelievable :heart: Next time I’ll take the Ampeg RB210 as extremely curious how that sounds at volume.

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I have the Moto M4 which has a loopback function, Presonus One 6 and several effects (BIAS FX, TH-U, Amplitube).

Reading your comments, could I record the “dry” signal to one track and listen to the same signal live with effects while playing (and record it to a second track, just for reference), only to normalize the recorded dry track and add final effects offline later for the final mix?

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Nah, in your case I would only record the dry track and then just apply the effects in the DAW. No need to rerecord.

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So, there is no way to use effects live while recording dry (and optionally live effects on another track)?

Meh!

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No, you totally can leave the effects on. You just don’t need to record them onto a separate track.

To do this, leave the track monitoring on in the DAW and you will hear the effects on the computer output while recording.

At this point I would recommend spending some time learning how effects plugins work in your DAW.

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They are currently on sale for $150 off, so I wound up with an HX Stomp XL. It has completely changed my recording workflow for the better.

The reason I initially started capturing audio with the RC-3 is that it was difficult for me to get the input levels set right on the Focusrite interface I was using, especially when switching between various active/passive basses. Grabbing it from the RC-3, it was just perfect every time.

Well, no need to set an input level on the HX either. And if I’d realized the following benefits, I’d have purchased it way earlier:

  • You can do hardware monitoring using speakers, headphones, out to an amp, whatever. Zero latency while recording and hearing the affected signal

  • The USB audio interface has 8 outputs to the DAW. And one of those is a dedicated DI, so you can be recording DI to the DAW while monitoring latency free

  • With MIDI control, you can do some cool things like assigning DAW actions to various footswitches. So now I can start recording by hitting a footswitch, and if I screw up that take, it’s easy to start another take using footswitches instead of getting up and using the mouse/keyboard to control the DAW.

  • And of course, portability of patches between the HX and Native is super convenient.

  • This isn’t a recording thing, but simply being able to plug a bass and some headphones into it and being able to practice with a full rich bass tone without having to fire up a DAW or plug into an amp is super convenient.

These things are great!

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Awesome! Yeah I have no idea why Zoom removed the audio interface from the B1four/B3n. The B3 had it and the H2/B6 does too. Even the G5n had it.

Oh well. Line 6 makes some of the best effects in the sub-$1000 price tier. Excellent buy :slight_smile:

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1000% you can do this in a DAW and go much further if you like
e.g. you could have multiple wet channels with different effects and automate the solo function so as you play the song the bass sound you hear as you play (the monitoring mix) automatically switches through different channels/tones in different parts of a song
Take the advice from @howard and get into a DAW a bit, a short time later you should see the possibilities, and sometime after that hopefully hear them too :+1:

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:100:- and with better DAWs like Reaper you can even apply different effects to different parts of the same track and automate their behavior.

DAWs are incredibly powerful and proper plugin support is one differentiating factor between them. It’s really useful to spend time learning them.

I still cringe when I see people post DAW project images where they haven’t even bothered to set the BPM - it’s not just a tape recorder, people :rofl:

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So how much do you cringe when I’m just using reaper as a metronome and amp/cab sim :rofl:

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I have Final Cut Pro X on my M2 Mac and FCPX iPad I do the editing on one or both and the final editing is done on iMovie, lol. I’m not cringing at anyone doing their thing, :sweat_smile:

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Haha yeah to each according to their needs :rofl:

It’s just - there’s so much more there, and all it takes is a little learning.

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I set up my iMac on my bedside table, turn up the screen brightness and use it as a night light. I may not be using it to its full potential either.

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I’ll get there, I think. I don’t have anything that I feel like I’m playing well enough to be worth recording for more than listening to myself to improve the fingers on the strings sound, so I haven’t dug into it yet. (Ok, that is a bit more than a metronome)

I kind of have a list too, and reviewing appropriate gain and gain staging is next on it. I think I’m doing what the reputable resources recommend, but it doesn’t look like the signal amplitube is very large compared to the track height. It works well enough for listening back and “ah fell off the rhythm in the bridge, need to play it a few times focusing on that” type use for now.

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:+1: super important

So just for shiggles, using the example I gave, here’s three real practical reasons people should set the BPM in the DAW prior to recording:

  • The metronome/click track will be correct
  • The DAW beat ruler/measure grid will properly line up with the track and you can see if you are playing on the beat visually (and adjust/correct for latency and other issues very easily)
  • If you are applying effects like reverb or delay, you can sync them to the DAW timesource and the delay/reverb pulses will land on beats (or other notes like eighth and sixteenth), which sounds amazing

but really it’s also table stakes for other parts of production, especially drums and synthesis. Just having a common timesource for a lot of that is important.

Anyway - everyone should develop their own workflows they like, but the tools are there for you if you learn them :slight_smile:

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Ok, I started digging into my DAW, so I don’t aks any stupid questions anymore. Except this one: if setting BPM is important, can I use a GP5 (possibly converted to MIDI or MusicXML) to set BPM “dynamically”? You know I have those stange tempo changes and this is what I play to.
But even a track like “Crimson and Clover” has a huge tempo change, so how to account for that?

So, my idea is to import a GP5 (MIDI/MusicCML) and use this a kind of a reference clock for the whole project!
Would something like that make sense? Is it feasible?

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You can automate tempo changes in the DAW just like anything else.

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