The panels can be dampened by the addition various damping materials. This includes foams, cloth mats and sheet dampeners. Higher priced cars will not need as much dampening as an econo box because they are built with thicker panels and have more factory dampening. Just as energy leaving the enclosure can be absorbed by panels so can energy within the enclosure.
If your enclosure is built with inferior materials, too thin of material or just generally poorly built it will absorb some of the mechanical energy of the subwoofer which will result in less decibels.
The cure for this is to make sure your enclosure is solid and leak free. Bracing should be used on long panels to prevent flex. Generally you need to have the Do Not Ignore Rmx - E.Decay - Lost In Bass (CD) built right the first time and it isn't something you can "fix later". This will cause the two waves to cancel each other out and the result is less or no sound.
The biggest culprit is incorrect wiring of the subwoofers. This can be at the subwoofer, at the enclosure terminal cup or at the amplifier. If one woofer is firing forward while the other is firing backward the Do Not Ignore Rmx - E.Decay - Lost In Bass (CD) will cancel each other out. This can also happen when two subwoofer that are firing in phase are point directly at one another.
One other thing to note, envelope filters don't respond the way other effects do. At a lot of settings, more sensitivity can really make the effect less notable to the ears. There is a sweet spot to find to get the effect to really burp and sometimes it will be right at the bottom of the sensitivity range.
Generally speaking, I get where you are coming from. Double and triple stops way up the neck really do get some effects to sing, but that isn't what we usually play. I still really do like my effects, though. Good luck man. For instance, a bassist trying to get a really wet filter to stand out in a loud, rhythmically driving section, or kicking in overdrive while the other 3 guitars are already maxxed out on distortion.
Just something to consider! I think the "bass friendly" attributes comes in with the components not cutting out bass frequencies, not necessarily the appropriateness of the effect in each player's situation. I play in two churches -- and not at really loud volumes-- and I noticed that I my bass was much easier for people to hear and not just feel when I bumped up the mids a bit.
All of a sudden, I was not just just a bass rumble, but they Do Not Ignore Rmx - E.Decay - Lost In Bass (CD) hear articulation and melody coming from me. As has already been said, if you're dealing with 2 or 3 distorted guitars, you're NOT going to cut through.
In those types of bands, the super lows are the only frequency band that the guitars aren't monopolizing. I only have one guitarist in my band, so we agreed to EQ our amps such that we're not fighting over the same sound space. I tend to use effects most often during slower, quieter parts of the song, or when the guitar is soloing. That is when you're going to have room for your signal to breathe and spread out. All that being said, when you're using filters or modulation effects, clicking on some drive or dirt placed before it in the signal helps Do Not Ignore Rmx - E.Decay - Lost In Bass (CD) really make it pop out and be more resonant.
The reason I asked about your clean is that it's the first place to start. To sum up the previous posts, which I agree with, a drive pedal properly eq'd to cut will help a modulation effect pop easier it might sound like crap alonean eq to boost mids esp low mids more than other freqs will help, and talking to the rest of the band about eq'ing as to not step on frequencies are your best bets.
If I can't find an old thread, I create one. I don't buy more than one piece of major gear and then one or two pieces of software a year so between the forum and Keyboard, I'm more than covered.
Southeast Kentucky. Keyboard Mag for the most part. It goes up and down, Do Not Ignore Rmx - E.Decay - Lost In Bass (CD), but at this time it seems to be improving again. Some good articles lately.
Electronic Musician. Recently moved up from number 3 on my favorites list. The only thing SoS has over it is Anderton, and more editorial space. Sound On Sound. It was great a few years ago. Now I just read it mostly for the Sonar tips and tricks.
Otherwise it is like getting a catalog. Nothing but shallow reviews. I considered dropping this one but it is cheap. Sometimes very good, sometimes a total waste of paper.
Computer Music. I list it last because it is expensive and I dropped my subscription. Otherwise it would be number 2 right behind Keyboard Mag. Many complain because it is too elementary, but that can be good. There are still a lot of simple things about making music on computers that I do not know.
At least this magazine wants to teach young readers. Joined: Jul Or is this a figment of my imagination? Joined: Jan Robert said: 3. Go tell someone you love that you love them.
Originally posted by aeon: Quote:. Bloomfield, NJ. Monkey Mouse. I am going to subscribe to SoS soon, wh36 Ger I remember to hit the website Joined: Apr I don't read gear magazines. I do read Keyboard, for the articles which give me info about actual playing. Sometimes I am interested in the gear, but not generally. I used to think I was Libertarian. This ain't no track meet; this is football. Joined: Dec Philip O'Keefe. Oh, and Guitar Player, and once in a while, Mix.
I used to read EM but it's largely lost its appeal to me. Occasionally someone will bring in a copy of Home Recording or Recording, but they tend to be a little to "hobby" oriented for my tastes.
Joined: May Primarily I read Keyboard Magazine, and Electronic musician. If I need further help or details, I read the keyboard form, since there are people here who have either used the product, or now something of the product allowing you some form of general direction in making your decision.
I've always thought Keyboards reviews were really shallow, like they were afraid of upsetting the potential advertisers. SOS on the other hand are usually very honest. Keyboard was always better for theory articles or interviews of rock dinosaurs that you thought had died years ago.
One of the things I used to find funny was how Keyboard were a bit behind the times when it came to cutting edge artists Joined: Oct Rome, Italy. Keyboard Electronic Musician Sound On Sound not always To me, the quality, completeness and independence of Keyboard has declined slowly but steadily in the last 10 years. EM, on the other hand, is slowly losing that home-made feel and becoming more and more state of the art. However, it completely lacks the 'player' part.
SOS is generally very good, just a bit dry and impersonal maybe British style Now, please tell me about that Tape-Op magazine I've never seen it in Italy. Is it from the USA?
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