Dad3353

Even Jaco needed four..!

Ah yes, I recognise the drum technique. Record at 15, play back at 3.75. An old Pink Floyd/Nick Mason trick. Not sure that the video was shot 'live', though.

Thanks. A skanky version of 'Ghostbusters'. Made my day.

I like the left foot metronome. I'm a drummer; I'm imagining the hi-hat pulse as you're playing. Good Stuff, once again, Rob; Really Good Stuff.

For those unfamiliar with Bottesini, here's a virtuoso rendering of one of the star pieces... Rest assured; Rob's book has much less complex works than the above. (But what a player ^^, eh..? Rinat Ibragimov, sadly recently died; RIP...)

This ˅˅˅ is bass playing ...

There's a girl in red and face mask, on the left in the video, who, in looking around, takes her coat and hurries away. She may survive.

It was a quote from a verbal conversation; I don't, yet, (unhappily...) 'speak' faces. . And my ellipsis are not, grammatically, absence of words or phrases, but rather either suspension points or, more commonly, just for clarity on the printed page. When spoken (in the 'John Cage' sense...), consider them as pauses for another difficult breath.

6. "Lists of 'Top' whatever..."

There are lyrics..?

I started infants school at two years old, and remember the pieces of music played at school assembly, before first lessons. One piece in particular I really though I'd dreamt, or imagined, until, fifty-odd years on, I came across it again, and those early moments were re-lived. This is what was played to us, as well as many other fine works. Enlightened times, the early '50s..!

Compare and contrast ...

No, to be fair, I listen to quite a lot of the tracks and videos posted all around the Forum, partly as a Mod (just checkin', heh heh...), but also to hear some new stuff. I get a positive reaction to about 10%, a negative for another 10%, and a resounding 'Bof...') for the rest. Don't talk to me about Sly'n'Rob, either..! I watched a TV show in which they were guest stars. He comes out from behind the drums after a minute or so and starts tapping on the bass strings with his sticks; both of 'em smiling widely. Bloomin' awful racket, with no musical value whatever. A stupid stunt, a wasted opportunity to play summit decent, but no. Disclaimer: I've played too many festivals and concerts where the reggae/dub band went on before us 'headliners', only to have 'em overrun their spot by ... well, even longer than that (it felt like weeks...), and drive everyone away, leaving the venue pretty much emptied except for those wasted folks on the floor that could no longer move even for Judgement Day. Reggae..? Nah; I'll give that a miss, too.

Nothing new there; I've not even started on that dire 'Reggae' thread..! (shudders...)

You think so..? To me, the comparison was immediate (and not flattering...). Dull, repetitive, plodding, with a 'cute' hook 'woo hoo'. I attended the Hyde Park Stones concert (yes, the 'butterfly' one...), and left, as the Sympathy's 'Woo hoo' had quickly become tiresome. This werewolf thing has the same effect. No, sorry, I'm not a fan; it finds no saving grace in my universe. I'll pass.

No need to elaborate, really. One can't like everything, and this lit no lights for me. No problem; there's more stuff out there.

If nobody swore, there'd be no need for a filter. As for the 'Werewolves' track: I don't think much of 'Sympathy For The Devil' either, so I'll pass...

As below, really... 'Make The Logo Bigger'...

One of the side benefits of 3-mic recording is that these phase issues are no longer there. If stereo panning is not required (and for drums it's not that useful for home recording...), bass drum/snare/overhead covers most of the ground. There are scores of methods for recording in general, and drums in particular, but if one gets it right with the 3-mic method, it's a darned good place to start. I heartily agree that experimenting with placing and distance is time well spent, and an afternoon trying a dozen different variations, then listening critically back to the results, is worthwhile. Placing the drums in the room makes a big difference, too, depending on the acoustics. Setting it up in a corner, or in the middle, and listening to the difference helps find the 'sweet spot' (there's always one spot better than the rest for what one's purpose might be...). Don't forget the other 'tasty tricks', either. One of the best 'reggae' bass drums I got down, many decades ago, was by recording the swatting of a huge ladybird cushion stuffed into a plastic bowl with a wooden spoon. Heady daze..!

Yes, indirectly. No practical playing of instruments, but a realisation that there was a whole universe to be explored, not just whatever the Light programme (BBC radio at the time...) was putting out. No music theory, but exposure to much more than I would otherwise have heard (symphonies, concertos, opera...) and an awakening of a curiosity and thirst still un-quenched. The Music Teacher (Mr 'Goatee' Smith...) died recently, I learned, but it was through his lessons that I developed my own 'Middle C' principle, which has served me throughout my later careers. This theory has little to do with Music; more about Humanities, but it came about thanks to ol' Goatee. Playing an instrument came much later, once I'd started earning a meagre crust, but some foundations had been laid. No regrets here; I wasted much more time and opportunity in other lessons.

What could I buy that's any good for the twenty-odd quid my stuff would fetch..?