Dad3353

'Honk' is not at all subjective. It's onomatopoeic, a sound as of the cry of a wild goose. A car 'honking' its horn has this same sound, as does a saxophone. It's easy enough to recognise; just watch and see how many wild geese are attracted or repulsed by the sound.

The scene : a variety band, mid-'70s, France. I've just joined, so I'm rehearsing drums in the BL's headquarters with the crew. On the menu..? The Stones 'Satisfaction'. No sweat, count in, off we go. Basically just straight 'pop rock' pattern, with light crashes on the 'cos I try...(pish...)' etc. Nothing too outrageous, but 'Stop, stop, stop..!' cries the BL (but in French, naturally...). 'That's not how it goes..! Play like the disk.' Hmm... I'm a bit stumped, as I knew the song, of course, but had never listened to the drum part specifically. We went on to play other stuff for this session, and I bought the single (pre-Internet days...) and listened to it. The next rehearsal, I played what Mr Watts played for the single. S'not hard, it's 'four on the floor', 'stomp, stomp, stomp' with both feet and both hands, with no respite, from end to end. The 'chachacha' is Jagger's tambourine, and is the sole relief throughout. It sounds dreadful when played like that. 'What on Earth..?', cries the BL. 'That's what you asked for', I reply, and play him the 45. He had to agree that it was rubbish. From then on, it was my drum parts that were played, with no more quibbles. I did transcribe stuff like 'Hotel California', or Chicago's 'If you leave me now', but the musette, basic rock, disco or 'typique' Caribbean parts I would go by feel, and the response from the room.

Noted for next pay day.

I've met many a tech that talked 'guff', and even some artists that knew their onions..! (And what is this 'reality' of which you speak..? ) ...

Could work on his legato a tad more. ...

You'll need a USB interface, as mentioned above (lots of models for all budgets; Focusrite are popular...). You will not be able to listen with 'phones on the sedk to here what's been recorded; there'll be a headphone socket on the interface for that. As for overdubs and recording new tracks, that depends on what software you'll be using. Tell us what DAW you use and you'll get details on how to reduce the risk of error. Hope this helps.

When I first heard Tchaikovsky's 'Pathetic' symphony, in my twenties, tears welled up. A couple of decades later, the same left me unmoved. If I listen to it again now, it may well have another, or the same, effect. I don't analyse stuff, I just listen to it. Circumstances, my mood, my health, the medium playing (Radio..? Hifi..? Interweb..?); all sorts of things make a huge difference. There are a few pieces I could listen to at any time, but even then I'm sure it would annoy me if the moment seemed inappropriate, spoiling it for another day. There's no simple 'Yes, I like that | No, I don't like that' with me. It depends on so many factors. I'll admit to being quite allergic to the 'big beat', 'One, One, One...' disco beats, and reggae bores me quite quickly, though. (Oh, and skirling bagpipes get short shrift, too...)

WoT looking for a bargain..? ...

Good afternoon, 4&5 , and ... Plenty to read and amuse you here, and lots to learn and share.

Having done lighting for several years, I'd have a different opinion. 'Warmer', more 'shine', 'depth', 'shocking' and so many more terms used daily by lighters, dancers, musicians... People, in fact. Us techs would communicate in 'Lee' filter numbers, but most meant nothing to those on stage ('Can you bring up the 203, please..?. As for light frequencies... Lee even have sets of filters for evoking particular moods, called, logically enough, 'Mood Boards'. This is their proposition for 'Sympathy', for instance ...

Not just the voices, but the poetry and emotions conveyed.

The Bee Gees (collectively...)

Pavarotti power. It seems so effortless. Good Stuff.

All qualities united. What a career..!

The much-missed Sandy Denny ...

Everything..? 1977-78 Fender Jazz Bass Guitar ... ...

... and I've just discovered that my Reaper 5 has been able to do video for yonks..! Why have I been messing about with other packages, when this does all I need, and with ease..? I'll wait before moving to Reaper 6 now, and dispense with the 'nag' screen..!

In Reaper, create a new project. Enter the tempo and time signature, then import the audio track(s...) from the other DAW. In a new track, tell Reaper to use the Video Processor (in Fx...) and import the video track(s...) and edit away. The Reaper grid will reflect the tempo/time signature, which can be 'snapped' to.

OK, after a couple of minutes, to find the appropriate new menu entries, I'll be adopting this from now on, as it does exactly what I want in just about exactly the way I want, and that I'm used to. Nothing too 'Spielberg', just basic fades and cross-fades. As a bonus, it works on the basis of the Reaper tempo and time signature, so compositions can be exactly synced, to have changes at every fourth bar, for instance. For the moment it's only evaluation (my v5 license isn't sufficient...), so there's a few seconds of 'nag' screen at each load-up, but I'll most likely acquire a full license as soon as my finances permit. $60 is fine by me, and I can use it fully until then. Altogether a Good Call; thanks.

Ah yes, I'd forgotten about that. I'm still using Reaper 5 (Audio only...), and hadn't notices the video section when I briefly trialed Reaper 6. I'll have a closer look; it may be the simple solution for me, as Reaper is my 'go-to' DAW. I had a couple of issues with Reaper 6 at its arrival, but I'll give it another go... Thanks for the 'heads up'.

Just putting a different spin on things.

It's just a load of flannel.

No, that's too sad. Come on over; I'm chatting with Jack Casady and Mark Andes (Spirit...), and there's a spare chair. Phil Lesh will pop by shortly; we've biscuits, too.