Dad3353

Phyllis Tyne.

A constant note, such as a foot pressing a bass pedal on a church organ, or the wind harps sounding behind an Indian raga. When practising fretless, sounding an open string, or a harmonic, helps to keep the ear attuned to the intonation. When playing 'live', this is used, too; no need to have a church organ pedal board on stage with you, really.

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

Here's what happened when I did one ...

If such a bummer is going to happen, it may as well as be when pretty well all bands are not playing or rehearsing. By the time the gigs are back, you'll be up to speed with whatever the re-work does. Good luck with it; stick to what the medics say, and don't try to rush it. The fastest way is to go slowly; follow their advice.

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

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

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

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

The lutherie and concept of these instruments is much aligned with the world of violins, double basses, cellos and the like. The folks that work in those fields know and understand how and why they work, and respect these methods. There are fine luthiers that can return this bass to its original, more-than-excellent state, whereby she would be, not simply playable, but very fine, class instrument, both acoustically (although not in the sense of playing in an acoustic band, just splendid tone...) and amplified, within the remit of 'old school' repertoire. The work needed is not difficult, for a suitably experienced luthier (indeed, it's almost their daily lot...), and will render the bass fit for purpose for at least the next half-century. Given her present state, it behoves the owner to ensure that she can give of her best for future generations. No short cuts, no half-measures, no bodging. It wouldn't necessarily be expensive, either, in the right hands. Done 'wrongly' the guitar would be destroyed. Think of the children..!

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

They'll not be going to waste...

Magma ...

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

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

We're adding this to our set, so I've been listening to it often enough of late ...

What is this 'practise' of which you speak..? ... ...

Have you tried contacting Ashdown directly..? They may be able to help. Just a thought.

There are occasions, notably with amplified acoustic instruments, where the sound from the instrument and the sound from the amplification combine, usually at specific frequencies, to start feeding back, or sounding 'boomy' or 'ringing'. Phase reversal can help there, as a phase-reversed amp sound tends to cancel out the acoustic sound, so bringing clarity. Much depends on the stage, venue, proximity of the amp, so it can't be a permanent, 'built-in' thing; it's used by listening to see what sounds best in any one situation. If there's such an issue, phase reversal can be very useful indeed. If there are never such issues, it won't fix what doesn't need fixing. Hope this helps.

Ah, in that case... Duly ordered (optimistically, all three volumes ...). Thanks for the recommendation.

I wonder if a Precision version would be possible..? Hmm...

This one, by any chance..? Mr P.C. ... Makes a very apt Christmas gift.

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

No, nothing against Cubase for any of the reasons given, but whatever choice one makes, there are compromises to be made. Personally I have been using using Reaper for ... well, even longer than that, and 'trialed' it for nothing for well over a year. I did finally decide to buy a license, but it has worked out to be less than the price of a cup of ordinary coffee per year (although, to be fair, I never drink coffee anyway, so...). No, the main concern is having software that your 'platform' can support (I've never been one for acquiring 'cutting edge' stuff; all my 'puters have always been very low spec...), having a 'workflow' that makes sense (I have found it fairly easy to do easy stuff with any DAW, and I only do easy stuff, so...), and having the flexibility to be able to handle the very divers media and methods dictated by one's Muse. For me, Reaper does all of this; others have great success with other stuff. There's a reason why Cubase, Protools, GarageBand et al are used so widely, and for so long. They're all good; one just has to choose whichever ticks the most boxes, and accept whatever this choice implies. Reaper does all I need; there are many DAWs out there, including many fine free or low-cost ones. Be aware, too, that Kontakt (even the Player version...) and Vsts in general, are a rabbit hole; it's often a Good Idea to have some kind of brake on one's aspirations, lest one falls into the 'All the gear, no Idea' trap. I'd be embarrassed to explain how I came to know this. Hope this helps.