Dad3353

A lot depends on the way you approach the music you're making, and, to a lesser extent, which genre(s). Some are very good with manipulating samples, others are more adapted to 'live' takes, and the use of MIDI and/or virtual instruments counts, too. I can't speak for all the other uses, but I've been using Reaper for well over a decade, and it's done everything I've asked of it, whatever the genre. It didn't come easily, the first day, but is possibilities are far in excess of anything I'll be able to come up with. One advantage I've found (for me...) is that Reaper does not distinguish between types of track. Any track can be recorded audio, or samples, or MIDI, so, when mixing, I just have to do the faders, and not think about how the sound was made. It takes all the virtual instruments I need, including orchestral ensembles and suites, several drum simulators and any samples I care to use. I create a very diverse, modest load of nonsense, and Reaper allows me to try all sorts of stuff, for very modest cost. Hope this helps (but it's unlikely...).

Brutal..? With my cloth ears, can't be anything but..! I listened to Lst 1, by skipping through, with headphones at first, then through my modest monitors. I then compared to the 'mastered' four tracks. With headphones, there's a serious lack of bass in the balance, but this is largely corrected through monitors. I'd assume, then, that the bass is in general EQ'ed rather towards the low end. The mastered versions are noticeably improved in relation one track to another, with a more regular dispersion of frequencies, better to listen to in general. Difficult to say how this will reflect on the whole list (there is quite some difference in level between the tracks of Lst 1...), but if the levels of the first four are maintained throughout, this disparity should disappear. I don't know how these will sound through car speakers; I'd guess that there would be a lack of bass there. The other instruments and vocals blend well, but the bass doesn't cut through on lesser systems. I haven't listened to Lst 2 or 3 yet; not really much point without comparing to the mastered versions, though. The link is dead now; are you updating the files..?

No, and never were. It shouldn't be necessary, either. 'Blighter' would have worked just as well, or 'so-and-so'.

There's some useful stuff here ... How to recorde a DB ... My suggestion, if you can't record in another room, is to invest in a second, large-diaphragm condenser mic, and capture two signals. Optimise for each, then blend to taste. The mics would have to be spaced apart (the Rule of Three..? Distanced apart at least three times the distance of the closest to the bass...). One mic to capture lows, further out (so more room ambience, but that can be filtered out somewhat when mixing...), the other close to the bridge, to pick up the soundboard. Your interface will handle this with ease, and a large-diaphragm can be bought for well under that budget (the Behringer C3 is around £40 or so; we use Superlux, which are rather good, but I can't see any for sale right now...). You'll need to experiment with placement, of both the instument in the room, and the mic(s...) positioning, which implies having a full bucket of patience on hand. Hope this helps, a little...

I think I'll just go and lie down for a while.

Happy memories of this concert (well, the same set, at Nantes, France...). I was intrigued by the lighting, which, at moments, managed to light the stage in brown..! Good Stuff...

Another 'cheapo' way of hearing the bass whilst recording is the old 'Y'-cable; a male jack lead with two female jack sockets. One of these for connecting to the interface, the other to the amp. Not expensive, and not ideal, maybe, but works well enough for hearing the bass. Just a thought.

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

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

It's a phrase that's so rarely used as to not be worth the bother.

Come back, @Sub_Drop; all is forgiven..! (Was it you with log in trouble..? ) ...

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

Muppet..! ...

I had another look at A3, A4 and A5, and have decided to stay with the A3 which I bought many years ago now. There is far too much in the A4 and A5 that need buying (again...) elements, just to get the 'free' presets to sound as they should. Poisoned chalices, I say. A Satriani preset needing more dollars to work doesn't cut it, for me (not that I can play Satriani-style, but that's beside the point...). I'm not happy with the IK Multimedia-way; I'm sure they'll do well without my patronage. I'm out.

But why was she stomping on the hollow wooden floor like that..? I really can't imagine listening through that several times while mixing without a steady supply of paracetamol. It's sonic migraine, I tell'ee. I wouldn't pay much attention to those Soundcloud sirens' comments anyway; I always get offers for lucrative world-wide distribution posted twelve seconds after it's gone 'live' on mine. I'm still waiting for the cheque.

Nothing wrong with the mix, for my cloth ears. I played it through my monitors, not headphones. As you well know, I'm not even close to being the 'target' for music in this genre, and I'll admit that the 'four bars of this, four bars of that' formula does little for me, but, if I can pass what passes for a compliment from me, it's better (much better...) than some other comps you've punished me with over the months and years. Better drums are available, but they do sit correctly in the mix. I agree with the notion of swapping out the 'lecky guitar, especially at the end, but that's just a detail; s'not that bad as it is. All in all, and to answer the question simply, I'd not mess about with the mix, which does its job. Hope this helps.

I've found the preset (HiAmp_Dad_Clean...) in the Amplitube 3 presets, and copied it over to the A5 presets folder. It's not recognised, and the HiAmp amp is 'locked' in A5 Custom Shop folder. It's a pity, as I paid for that in A3, but it seems that I'd have to pay again to 'unlock' it in the A5 Custom Shop. I'll continue to use A4, where it all works as it should. Who was it said 'Less Is More'..? For me, A5 has brought nothing I didn't already have. Some new stuff, certainly, but at the expense of losing my 'old' stuff. Sod 'em, I say; sod 'em.

I did this 'upgrade', and have now lost my 'go-to' presets which I've had since Amplitube 3..! I've still to do a thorough search of my back-up files on another disk, but it's a bit annoying. It's done, now, but I'm not sure what the version 5 has added that I really want/need. Serves me right for being greedy, maybe.

The usual treatment for a damp house is ventilation. If a constantly-renewd flow of air can be established, the damp will dry out. Of course, the source of the damp should be addressed, if possible (leaking roof, cracked walls, land water drainage...). The cheap way of getting the air through is to open the windows. That's not so good in winter, of course, but on every bright day (and more are coming, with Spring not far off...) it might pay to open the house up more, and wear an extra jumper. Hope this helps.

If it's like most other instruments with built-in pre-amp, it does have a switch : the jack socket. If the jack plug is removed when finished playing, the pre-amp is no longer powered, so the batteries last longer. Do you unplug from the EUB after each playing session..?

I understood from the vague OP that the issue is injecting audio into the Moog, probably to play around with the filters and stuff for Fx. An audio signal, in place and stead of an oscillator, should be possible; no MIDI involved. I may have got it all wrong, of course. The reading, and understanding, of the manual would reap dividends, I'd suggest.

When playing with the symphony orchestra, looning about the already-cramped stage or pit is not recommended. When subbing for Bootsy Collins, a little bit of strass goes a long way. It all depends; there are no set rules. This is music, and Basschat, not Three-ring-circus-chat. Do (and recommend...) as you wish; I'm a drummer, so...

What is it you're wanting to do..? Have you read the manual..? In the manual (Page 15...), it says that an audio signal can be plugged into the Osc 1 socket. Osc 1 will be removed and the audio signal used instead, the level of which is controlled by the Osc 1 knob. The same goes for Osc 2. Is that what you did..? MIDI is not concerned by these functions, it's just injecting audio from an external source instead of using the internal oscillators. The output from the drum machine has to be audio for this to work, taken from the normal audio output socket, or maybe the headphone socket. Hope this helps.

Good evening, Jeezy, and ... Plenty to read and amuse you here, and lots to learn and share. Which one is you..? The stripped one or the fellow with the sensible tee-shirt..?

OK, a misunderstanding. The topic is 'tonewood', so I assumed, wrongly, as it turns out, that you were attributing a difference in sound of the basses to their essences. My mistake. Sorry.