Dad3353

Not much to add to all of this except to say that we are all different, and that experimenting is a Good Thing. The sound wanted from recordings varies enormously depending on genre, taste and style, so there's no 'silver bullet'. I'm 'old school', whereby I want the drums to sound like acoustic drums. Once, when recording for a reggae-style song, we used a giant ladybird cushion stuffed into a plastic bucket and spanked with a wooden spoon. This gave a much better 'reggae' drum than my kit. No, I don't put pillows into my shells; I use a pair of felt strips inside, vertically, each side of centre, to control the 'boom'. There's no port (nor need for one...). It was the fashion in the early days of mic'ing kits to remove the resonant heads altogether, and placing the mic's inside the shells. The 'sound' of the kit was created using the console, as the kit itself now sounded either like a steel drum band, if tuned up, or like cardboard boxes when damped with bits of whatever taped to the batter heads. These became known as 'concert toms', and many makers actually made whole kits like that, with no lugs at all for a resonant head. If that's the kind of recording and/or live stuff wanted, get a 'concert' kit and be absolved from the need to tune a resonant head. It's not quite the same thing to remove the resonant head alone, as one gets the issue of the unused lugs rattling, for instance. One wonders why bass drums are ported, but rack and floor toms are not. The sound will not be 'matched' if they're mic'ed up differently. Again, recording in studio conditions is a different game from recording at home, even in a suitable room. Most recordings can be adequately made using a bass-drum mic, a snare mic and an overhead. A well-placed overhead can eliminate the need for separate snare, too, if the player knows how to create the dynamics required without a separate channel strip. I'd recommend this, for anyone wanting to record stuff; there's a lot of questions answered in there, plus questions one didn't know to ask ... The Recording Engineer's Handbook 4th Edition ...

Bloomin' youngsters.. ...

Ask to receive rendered WAV files, then, and send back your tracks in the same way.

I'll listen to anything, for a (short...) while; everything gets its chance. However, I'll not suffer for long if it's not hitting the right spots. I, too, am old, and can't be wasting time panning for gold. I'm quite sure I've missed a few nuggets over the years, but I've come across gems, too, in the past. Not often enough to carry on as before; it gets its chance, that's all.

Does your wife know this..?

What is it you're sharing..? If it's the whole Project, you'll need to all use the same DAW, and have, each, all the bells and whistles used in the Project. If, on the other hand, you're sharing rendered files, any DAW can use WAV files rendered by another DAW. It's best in this case to establish a System for file naming, with key, time signature, tempo info for instance. I can't say what, if any, advantage Cubase (or any other...) DAW would bring except Project compatibility, if you've all identical set-ups. Hope this helps (a little...)...

Consult. Soon.

So, there's Hope ... You want to climb the ladder, you want to see forever, you want to go out Friday, and you want to go forever...

I had stuff from Amplitube 3 which disappeared after 'upgrade' to (free...) A5; there's no roll-back possibility. Unsympathetic response from IK. I've since chosen, unwillingly, to buy (again...) the elements I want/need for A5, but I'm not enchanted with the reaction I got from IK. I'll be investing in other sources in future.

My ears can't tell the difference, on or off, so I leave 'em on.

My M-Audio monitors have exposed cones; I've draped a lace curtain over them. This keeps dust off the speakers, whilst letting the rich audio tones reach me with no hindrance. I've had occasion to remove them once or twice, when they got beaten moderately to remove accumulated dust. It works for me (and we've a rural, dusty environment...).

Good afternoon, Bruce , and ... Plenty to read and amuse you here, and lots to learn and share.

You must have done at some point..?

These, from Elixir ...

I, too, was young, once (hard to believe now, of course ...). I had a Burns Bison, and fitted it with 007 strings. These are like cobwebs, and the thing was basically unplayable. I saw the light, though, and switched to drums..! All my guitars (I now have several; some people never learn...) are now strung with 010. I used to use Fender Bullets, but they rust too quickly under my fingers, and I now use Elixir coated strings, which suit me just fine. The tone will change, but it's more about playability, staying in tune, and breaking less often. Bending won't be a problem; your fingers will quickly adjust to 010's, I'm sure.

When in 'passive' mode, it's the passive tone that works. When switched to 'active', the equaliser tone takes over. What's the difference..? A passive tone can only cut frequencies; an active circuit can cut or boost. '008' is very 'skinny' for most guitars; it may be more suitable to fit a '010' set of strings..? Just a thought...

All of my back catalogue.

I'm rather 'allergic' to the works of Offenbach, but did enjoy a recent programme featuring 'The Tales Of Hoffmann', with the famous duet. It's rather the exception, though; I still don't like the previous stuff he composed.

Possibly. On the other hand, I could send you a set of stems, just for fun (just as a 'taster', not to remix 'for real'...). The whole thing is 60 tracks, with the master, and runs for nearly 15 minutes. It has some automation in the MIDI tracks, but I could remove that easily enough, and return all the stems to 'zero'. Rendered to WAV the stems weigh in at 12 Gb, but OGG Vorbis is a worthwhile option. I've a Google drive I could upload 'em to; want to take a look..?

... and I'm maybe not the biggest fan of either..!

Indeed. It's helping my headache from the previous track, anyway. (... and it's not a case of 'won't listen to', it really is 'can't listen to'.

On the other hand, I imagine that you'd not be enchanted by my orchestral stuff, in which there may be whole minutes with nary a drum..!

Much as I wanted to, I really can't comment on either of these. They have their qualities, but I cannot have that incessant 'One.. One... One... One...' for more than a few seconds; it really does bring on an almost allergic reaction. I'm not being funny, or sarcastic; in a past job I've been hospitalised after a spell in a disco for which I was installing the lighting Fx, when the Sound System started up for tests. Sorry, but this type of stuff is not for me.

Good evening, Girlarms , and ... Plenty to read and amuse you here, and lots to learn and share.