Dad3353

It's far easier if one is not so fussy about details, and with wider tastes. Fretboard..? If it's not backed with sandpaper, I say 'Whatever...'. I've never found any difference whether ebony, rosewood, maple, other... Pickups..? They make sounds I can use; that's all I ask of 'em. I can use sounds from 'P'-style, 'J'-style, 'MM'-style, 'H'-style or 'Other'. It's my ears that tell my fingers how to get whatever 'tone' I want from whatever bass I'm wearing, with, maybe, a little help from EQ, on the bass or from the amp/DAW. It's all good. Scale length..? I play long-scale fretless sixer, long-scale fretted fiver, long-scale four, medium-scale four, several six-string guitars and baritone guitars, 12-string electric, folk guitars, nylon classical... I adapt to the instrument, and play 'em accordingly. It's true I'm far from virtuoso on any of these, but it's my playing that is the issue, not the scale length, nor neck width, weight, neck profile or whatever. I enjoy the moment, or even the challenge, and am not looking for, nor expecting, perfection in any one aspect. I'm looking to get the best I can with what I have under my fingers, and, for the past half-century and more, it's my fingers that are the weak link in the equation. Disclaimer : I'm a drummer; I don't spend any time or even thought trying to get 'whatever' tone from a kit. I play to make the best I can with the kit I have. Should I use a chrome snare, or wood, or Vistalite..? Which hoops..? Nylon tip sticks, or hickory, or oak..? Which grade of metal is good for cymbales..? Should they be mirror-finish, or hand-hammered..? 16" crash..? Or 17"..? or 18"..? Don't get started on pedals... Chain..? Direct..? Webbing strap..? Felt beater or nylon..? It's all irrelevant. Choose what suits best within budget and enjoy it, whatever it is, for what it is, or don't buy it at all. Simple, really.

... maybe, but not the drums.

In my case, every 'another listen'.

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

Good afternoon, WB, and ... Plenty to read and amuse you here, and lots to learn and share. (But you knew that anyway ...)

You been trying to listen to my stuff again..?

I've been a bit luckier than that; more often than not, I'm the click-track (I'm the drummer...). I lay down the first cut to a dummy take (usually the singer with an acoustic...) and all the following takes line themselves up to that. It's up to me to be good, of course, but I become the yardstick, and I'm happy with that. The few times (more recently...) that I've played to a click-track, it's gone very well, with no bloopers or overdubs/inserts needed. I am, however, aware that I am not just good, but also lucky.

Well, there's a turn-up for the book..! I clicked the link, I got the same offer, paid the 19€ and now have a fully-licenced new DAW to play with..! I had already downloaded and installed last night; all that was needed was the license key from the txt file and away it went..! I can give it a better run-through, without any parasitic random hisses that the demo mode create, so I'm well pleased. I'll see if Our Eldest is interested. It remains very 'screen-hungry', but, who knows, maybe I'll be convinced enough to add a monitor..? Where will I find the space is the issue, but, who knows..? Thanks, anyway. I've a new toy, and for a bargain price..!

Good morning, Auvke, and ... Plenty to read and amuse you here, and lots to learn and share.

Sent off to the Famous Quotes topic...

No surprise if everyone buys 'em from the UK..!

It's installed, quite cleanly, and I've downloaded the Pdf doc, so I'll give it a read. I immediately received a -15% offer from them (or rather, their robot..!), so they're 'on the ball'. It has a strange (to me...) notion of editing in one screen, then switching to the 'other' screen for mixing, eq and all that. Probably OK if one has two screens..! Even on a separate screen, though, there are so many tiny buttons and labels, it's not easy for old eyes to readily pick it out or manoeuvre with the mouse (or trackball, in my case...). Interesting, as I worked, years back, building Trident consoles, and spent years behind concert desks of many sorts, so 'hands-on' is no surprise to me. It allowed me to import a couple of WAV files I had to hand, and played 'em back perfectly, as expected. I couldn't find a 'drag' time stretch for these files as with Reaper, but I haven't read the doc yet either, so... Not bad graphically, but one very, very big, or, better yet, two very big screens semble recommended.

It's just downloaded; I'll give it a whirl this evening.

Watching the 'blurb' video, and it look fine. It seems to suppose that one has four acres of screen real estate, so if one's work involves a dozen tracks or more, the studio wall would be taken up by the screen, to get all of that 'one button per function' under the mouse. Well out of my league, I'm afraid, and their site shows a starting price tag of 92€, with 360€ for the '32' console. I'll download the demo, though, to see, I think. Compare and contrast ... Should I invest in a Harrison..?

Repeat after me, as many times and as often as is necessary... 'Less Is More'

For what you're doing it doesn't actually matter much. The important bit is to have the speaker well seated to the box, so that no air can leak from the rear of the speaker to the front. Something simplified, along these lines... https://garrettmei.com/cardboard-speaker/

Here is my contribution to the February 2021 Basschat Composition Challenge, inspired by a picture chosen by the previous joint winner: Upside Downer..! The scene is set by the picture: the Champion is coming forward, heralded by the traditional bangings, gongs and flutes, advancing with increasing alacrity to centre stage. The tension mounts. A surprise awaits... Just three new Kontakt 'freebie' instruments were put to (mis...) use here, with final assistance afforded by Aikimo and The Little 'erbert. Mixed in Reaper (what else..?), with no treatment whatever. Just a plain, simple mix again. Thanks for listening, if you already have; if you're about to, enjoy.

A beginner with no idea of what's involved, maybe. The 'secret' is in the knowledge of how electricity works. The electrical impulses (signal...) from the guitar to the amplifier are of low intensity (that's 'current'...). A guitar cable has been made to pass this low signal, with little loss, and to remain flexible and parasitic-noise-resistant, which means having fine copper wires and a braided screening sheath under that plastic protection. The very fineness of these wires makes it incapable of supporting high currents. The amplifier (the clue is in the name...) 'amplifies' the signal to become a much stronger signal, which implies, in our case, much more current. When current passes through electrical cables, heat is generated, depending on the intensity and quality of the wires. Speaker cables do not need the bulky screening of guitar cables; their thickness is explained rather by the much great cross-section (thickness...) of the wires inside, able to pass much higher, more intense currents. If a guitar jack is used between amp and speaker, the too-strong current can melt and destroy the cable, and maybe short out the amp to its destruction. An appropriately-configued speaker cable does not carry this risk. Now, as for the jack itself... Internally, there is a stout connection between the inner and outer contacts, capable by a large margin of handling any signal from a guitar. Able, too, to handle signal from a medium amplifier to a modest speaker, as long as the intensity (current...) remains within its designed range. Too high a current (that's to say, a high-powered amp driving a powerful speaker...) would probably cause, over time, failure by overheating in the same way as an ill-adapted cable. I would guess that adaptors of the sort you have are well able to safely perform the use which you've shown, at modest power levels, but would be better replaced with more apt cabling if the amp/speaker power were to be noticeably augmented. There's no 'golden rule', but experience suggests to me that guitar jacks are never to be used between amps and speakers, and that, above 200w or so, Speakon cables and connectors are the way tp go. The components you have will do the task you ask of them with no issues, but will not withstand high-power use of the sort I've described. I hope this brief glimpse into the wonderful world of electronics is useful; more study on your part will be helpful to you for years and decades to come, and is recommended.

Print this life-size; pin it to the door..?

No audio, and pieces of very varied difficulty, but, with simple diligence, there'll be no mistakes (or if there are, they're just 'fluffed' notes...). In all, can't go wrong, really.

For exercise' in reading, I found this to be worth a visit ... Alfred Kalfass 'Soul Essentials'... It's not (and not intended to be...) a tutorial, but a series of 500 riffs and patterns, for practicing one's skills. Good value, I found. I found it through his ( @alfred...) announcement on this very Forum...

Your question is not very precise; I'll answer as best I understand it. You wanted to know if the right-angled jack I'd linked is suitable for your use, despite the mention of 'V' guitars. I wanted to assure you that 'Yes, it's fine for your use'. However, I also added that, for higher-powered systems, jacks, of any sort, are not the best for speaker leads. This, to warn you that your current use is fine, but if, later, you procure a more powerful amp and speaker, it would be advisable to equally procure adequate leads, notable Speakons, such as this ... No need for now; use the cables and connectors that you have. I hope this clarifies things..?

Maybe @roonjuice should, indeed, sell it to 'em, and buy it back afterwards..?