Dad3353

Shades of 'ISIHAC', with their 'musical' rounds. I like a good (short...) joke.

This works whilst the track stays in the project, but it's not useful for extracting a track. Solo the track you want, then render using the normal 'File/Render' selection and you'll get the 'real deal'. This internal rendering is very useful on a more lightweight machine for saving on processor power, and I used it a lot when I had a weaker PC. Given tens of tracks, all using Vst orchestral instruments, it enabled me to do complete works, where the PC came to a halt otherwise. I wouldn't use the WAV files directly, though; they're for Reaper to sort out. I can't see any downside to using the main render method; all the options are available, such as rendering partially, just a time selection, or rendering several tracks at once (all that are not muted, in fact...).

OK, I'll have to ask 'How are you doing this..?'. I looked at three methods, and compared each with the whole track. I'm using a Superior Drummer 3 'Metal' track, and isolating the bass drum... First, I rendered the whole project. Then 'froze' the bass drum, solo. Next I undid that, back to the original, and 'rendered' the solo bass track itself to stems Lastly, I went back again, and made the bass drum 'solo', and rendered the whole project. Only the last of these three solo bass drums gave a true result. The stems and rendered tracks sounded fine in the project, but the WAV files they generated were of very different levels, compared to either the whole project, or the solo bass drum rendered as a project. I'd suggest, then, that you try (if that's not what you're already doing...) not using anything but a solo'd track, rendered as Project (from the File menu, not from the track 'render/freeze' options...). If you've done things this way, and still have issues, maybe create a small 'test' project we could share, so we can see what's happening..? It must be a simple issue (finger trouble, or bow not ticked...), as Reaper has bee, doing sterling work for me for decades, now. Any use to you..?

I'll do a quick test here; I've never had any such issues, and do a lot of track rendering, so I'm surprised. Back in a jiffy...

Please consider attaching the strap at the headstock, whichever bass is chosen, in much the same way as an acoustic guitar, basically. It makes an awful lot of difference to the balance of the instrument, and 'neck-dive' is no longer a consideration. The left arm is then pretty well totally free to just play, and doesn't support the neck at all. Just a thought.

Maybe you could get it repaired..? ...

Good afternoon, PB, and apologies in advance if this seems too harsh (but you did ask, so...). Firstly, and despite the above, 'Well done' for sharing, and kudos for asking for opinions, even if they're not what you wanted to read. Soooooo ... Too much bass..? Yes, in that the format of the song, its 'genre', is really asking for a laid-back, 'minimalist' approach, and the fussy, extraneous bass parts serve only, really, to muddy the waters and distract. The principle bass 'hook line' would suffice (but even that becomes wearing, and won't easily support a second listen...). I would have suggested pulling it back after the first couple of verses, and used a guitar line over the top of it, as relief. It must be a bit 'fashion', 'singing' in this way, and I'm not a fan of that, either. It can work, but only for a short while; there's too much here. A couple of lightweight, 'empty' middle eights would help, again with a spot of subtle guitar, maybe..? A big 'thumb's down' for the drums (I'm a drummer...); that cymbal grates from the outset, and never lets up. A back-beat hi-hat closure would suit better; the 'splash' could be reserved as (very...) occasional punctuation, as emphasis on a word or note, nothing more. A gentle shaker, brought in gradually, adding a sense of rhythm to ease the track along somewhat, would be welcome, too. OK, that's it. My usual disclaimer: I'm probably not your prime 'market' target, being old, retired, half-deaf and more still senile. Still, you did ask, and I'll repeat: well done for doing it at all. Tip Of The Day..? Don't pay any heed to old crusties that criticise your work. Keep well, stay safe Douglas

Yes, it does; t'will cost nothing to try (if you've the usb cable, naturally...).

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

The Hofner violin bass is, indeed, excellent, and more versatile than is generally realised; there are other lightweight basses, too. Hofner offer the Club bass, and the Verythin, both of which boast much lighter weight than most of the P & J basses (around 2kg7...). A bit heavier is the Epiphone Jack Casady, at around 3kg6. The Danelectro DC is about 3kg, and the Longhorn about the same. Hope this helps.

Here is my contribution to the December 2020 Basschat Composition Challenge, a 'special' Christmas theme of any Cover recorded this year..! This is a rehearsal of one of the songs we have in our (The Daub'z...) wide-ranging repertoire. It's our version of 'Tant De Nuits', by the very excellent, sadly late, Alain Bashung. The French lyrics are given below, for those interested. We are a five-piece; Singer, guitar, keys, bass and drums. This was recorded 'live', multi-tracked, in our micro-studio (it's really Our Eldest's attic quarters, but we can dream, can't we..?). One take, shared mics and much 'bleed', so it's a rough mix, with no overdubs or editing. Mixed in Reaper (what else..?), with a smattering of Ozone and Cockos presets as 'polish'. Thanks for listening, if you already have; if you're about to, enjoy. Tant De Nuits Alain Bashung Mon ange, je t'ai haïe Je t'ai laissée aimer d'autres que moi Un peu plus loin qu'ici Mon ange, je t'ai trahie Tant de nuits alité Que mon cœur a cessé De me donner la vie Si loin de moi Si loin de moi Si loin de moi Des armées insolites Et des ombres équivoques Des fils dont on se moque Et des femmes que l'on quitte Des tristesses surannées Des malheurs qu'on oublie Des ongles un peu noircis Des ongles un peu noircis Mon ange, je t'ai punie À tant me sacrifier Icône idolâtrée Immondices à la nuit Mon ange, je t'ai haïz Je t'ai laissée tuer Nos jeunesses ébauchées Le reste de nos vies Si loin de moi Si loin de moi Si loin de moi Si loin de moi Des armées insolites Et des ombres équivoques Des fils dont on se moque Et des femmes que l'on quitte Des tristesses surannées Des malheurs qu'on oublie Des ongles un peu noircis Des ongles un peu noircis Mon ange, je t'ai haïe Mon ange, je t'ai haïe Mon ange, je t'ai haïe Mon ange, je t'ai haïe Mon ange, je t'ai haïe

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

Cassandra ...

Not in Wales (or Sweden...). Pubs and restaurants are not to serve alcohol.

Dear Peter Brough ... Isn't it time you let Archie go..? Yours sincerely Mrs Trellis

And the winner is ... Doctor J..! Here, then, is your Winner's Certificates (download and save as pdf file, then proudly print and frame...) ... BC_Chal_Cert_2020_11.pdf ... which look like this (but bigger, of course..!)…

Or we can all just get on with living our lives as best we can, and ignore these Cassandra predictions. No-one knows, no-one can know, it just is what it is for everyone at any point in History, anywhere. There is no Plan, no-one is at the Helm, there is no 'ism'. Sleep well...

My German-made Hofner is a vintage Verithin ... ... which has withstood the test of time by now, so I'd say they're pretty darned good. I think it's fair to say that the reissue non-German instruments are very fine, too, and their advantages (light weight not least among them...) make them a very attractive option. The main difference with the vintage originals would be the presence of a centre-block; the originals are true hollow-body, and could, in some conditions, be subject to more feedback issues. Short or medium scale, and probably not the best choice for those wishing to indulge in 'slap' techniques, but they'll do most of what a 'normal' bass is supposed to do, and very well, in my view. I have other basses (although I'm a drummer...), but the Verithin is my 'go-to' bass, and has been for decades.

Tripe. Edit : Upon reflection, I'll revise that... Utter tripe.

We (The Daub'z...) played, once again, at our village summer 'Fete de la Musique', and earned ourselves an laudatory write-up from an i-news scribbler, in which mention was made of the drummer (me...) having once been one of the Dïck Rivers group of musicians..! No idea where this idea came from (perhaps my age ..?), but I felt strangely flattered.

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

I'm likely to get caned for writing this, but I don't think, for the relatively modest stuff we do (in general...), latency is a huge issue. It's true that I don't, often, record listening to a fully-loaded backing, with tons of Fx; I've never found any need to even check what the latency on my simple set-up is. With today's decent gear, it's not a Big Deal, I reckon. (Dons tin hat and ducks, though...)

+1 for the Rode. We have several such mic's, including Superlux. Most large-diaphragm condenser mic's will work splendidly for acoustic guitar, and much else. No (home-...) studio should be without one, in my view.