Dad3353

You know the score ...

Sorry, but this is not going to help you that much; I'll just describe how I record stuff with Reaper. I don't worry too much about the input level in absolute terms, as long as I'm seeing a decent signal on my on-screen graphics. Different instruments, and different ways of playing can produce different levels, and any imported samples or clips will have their own levels. Before mixing, however, I usually 'normalise' all tracks, which makes them 'compatible', each having the same peak level (can be 0db; I usually prefer a bit less, so normalise to -3 or -6 db...). In the past, with analogue, tape systems, this could increase background noise (tape hiss and the like...), but with modern 24-bit recording, this is, in my view, a thing of the past. I prefer recording more on the low side, then normalising, rather than recording 'hot'. I'd recommend trying this with your system, except that, in looking through the features of Bitwig, it would appear that they (deliberately..?) don't offer a 'Normalise' treatment..! Seems odd to me, and they doubtless have their reasons, but I'd be a bit stuck without it for mixing tracks with disparate levels. Still, that's how I deal with low input levels. To me, they're preferable to 'hot' levels (within reason, of course..!). As stated, this might not help much, but that's how I deal with things. There's nothing wrong with your interface; it's fine.

As far as dancing in general is concerned, both of my left feet are like breeze blocks. It's not an 'age' thing, I've always been more of a stumbling teeter-totterer, even on a Good Day. I'll happily watch a good ballet (Coppélia..? Swan Lake..?), but have no appreciation whatever of this most bizarre of social interactions.

I'm glad I play drums.

Pardon..? Could you repeat that, please; it's a bit muffled..? ...

Apparently, Canada is 120v (sometimes marked as 110v; it matters not...). No, that amp won't work there, unless you invest in a 'step-up' transformer. That would need to be able to handle the power draw (over 500w, to have some margin...), so would be rather cumbersome. I'd suggest selling the amp and buying another once settled over there. Hope this helps.

There's not much in any audio chain that introduces no latency (including that built-in to the player, between their ears and their fingers...). It's then just a matter of how, if at all, it affects (or not...) one's playing. A lot of folks use this stuff with no perceived issues. How much latency, for instance, in a vintage 'bucket brigade' phase pedal..? Did Jaco have these worries..? Is there a system with zero latency..? There is a line between what's 'perfect' and what's acceptable. Where that line is drawn will differ from person to person, and between various uses. We use a Smooth Hound; our playing doesn't suffer, to our ears. I'm the drummer; sometimes it's just my getting tired that causes issues..! (OK, so I'm old; that's my excuse and I'm sticking with it..! )

We have a Smooth Hound wireless system, which works well. UK-made, can be ordered direct for £150... Smooth Hound Innovations ...

For a mic, there's not much wrong with a Rode NT1-A (£160 from Thomann, with suspension, 'pop' shield and lead...). For pre-amp, a good 19" rack 'standard' is the DBX 286S, (£140 from Thomann...). A smaller format, 'tube' pre-amp could be the Presonus TubePre v2 (£124 from Thomann...). Good luck with the project.

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

I think the 'trick' here is to have the Fx in parallel to a 'dry' bass, and blend in what's required, so that the original bass is still there. Disclaimer: that ^^ is only theory, as I use no Fx for bass, usually. (... and I'm a drummer, so ...)

Good afternoon, Lever4Ever, and ... Plenty to read and amuse you here, and lots to learn and share. (... but you knew that anyway..! )

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

If you mean 'music' in a commercial sense (ie: as a vehicle for pecuniary gain...), it's not a 'given' in any case. It's never, historically, been anything more than a sideline for a privileged few, with rich patrons. In recent times (since recording, really...) it's taken a popular bound, but it's really the exception, not the 'norme'. There have always been popular musicians, but these were local folk singers or troubadours, not gaining more than a crust. Is the Golden Age over..? Possibly; how many public roller-skating rinks are there in your town..? This time last century it was all the rage. TIM moves on, and in mysterious ways.

It was originally listed at 12 billion, collection only, but they had no takers, so re-listed at the lower price, including shipping. ...

But do they charge fees..?

Sorry; it won't happen again.

Here is my contribution to the September 2020 Basschat Composition Challenge, inspired by a picture chosen by the previous winner: NickD..! Strange 'inspiration' this month, reflected in the title. The metaphysical Wild Ramblings of a Tree, faced with the Immensity of the Universe. What place for a Conifer in the Big Picture..? Is there reconciliation, or at least some comfort, in the vastness of the Unknown..? Superior Drums, Toontrack bass, Roland keys... All the rest is disparate samples, gleaned from my bulging folders and molded into shape, to fit pitch and tempo. Several instances of Ozone, for each genre, and a final spit'n'polish with Rich richness. Best played slightly loud (but not too loud, just the same..!) Thanks for listening, if you already have; if you're about to, enjoy.

Crossed wires here, I think (if I may...). I believe that by 'for clarity', he means 'to clarify my original request as regards p/u placing', nothing to do with having a more clear sound. I'm happy to be wrong, but that's how I read it.