Dad3353

Maybe Chris Coleman..?

BBC's 'In Town Tonight' theme tune (ripped to back a video I'm making...)...

As in 'cuts the mustard', I think. Quote : To cut the mustard is “to reach or surpass the desired standard or performance” or more generally “to succeed, to have the ability to do something.” For instance, Beyoncé really cut the mustard in her new song. ... So that's me out, then.

So you think that you're old..! Mozart, anyone (or even Bruckner...)..? ...

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

I'm... choo... choo... choosing to not post any puns here.

Do you need any coaching..?

Can you not set the controls for the heart of the sun an alarm on the clock, to remind you..?

Golly..!

I received Alfred's book this morning, and it's looking good, or even Very Good. It came in a hand-addressed plain envelope, very swiftly (from Germany...). Beware: the 'free shipping' applies only to those in Germany; I had to top up the sum for postage (to France...). Maybe Alfred could update his posts to indicate this..? The A4-sized book itself is very clearly laid out, well printed on quality paper, and so should withstand quite a lot of thumbing. And thumbing these pages is what it's all about. 500 bass lines, mostly just a few bars, but many longer parts, in all keys and all degrees of complexity. They are not graded progressively, which I found interesting as a concept for a beginner such as I, as it obliges one to hunt through for a 'simpler' piece, with a 'surprise' element when one pops out of the page. The first 'C' parts, for instance, with no sharps or flats, occur at 40 and 41. A heavy leaning towards 4/4 time signature, with a dusting of 12/8 or 6/8 and a couple only of 3/4, with a lonely 7/4 and 5/4. As a drummer, I would have expected a bit more 'swung' 3/4 (I suppose the 12/8 pieces could be played as such...), but that's maybe because I'm old..! There is one (497...) 6/8-3/8 (4 flats...) to spice things up, followed on the same page (499...) by a straight-forward riff in 'C'. Chords are noted for all bars of every piece, which help in 'hearing' what's going on; one could even generate a backing track to play along to (although, as the raison d'être is to improve reading, that's just a bonus...). All the pieces are musical, not simply 'made up' as dry exercises (no, I've not played 'em all, but it shows, just the same...). Any criticism..? Not much; not much at all. As with many methods, I would always prefer a spiral, 'lay-flat'l binding, but I realise that this costs more, and, to be fair, this book is supple enough to lay pretty flat without that. Other than that, and the scarcity of more divers time signatures, I have no hesitation in awarding five stars, and offer thanks to Alfred for bringing the book to our attention. Well done, lad.

I received Alfred's book this morning, and it's looking good, or even Very Good. It came in a hand-addressed plain envelope, very swiftly (from Germany...). Beware: the 'free shipping' applies only to those in Germany; I had to top up the sum for postage (to France...). Maybe Alfred could update his posts to indicate this..? The A4-sized book itself is very clearly laid out, well printed on quality paper, and so should withstand quite a lot of thumbing. And thumbing these pages is what it's all about. 500 bass lines, mostly just a few bars, but many longer parts, in all keys and all degrees of complexity. They are not graded progressively, which I found interesting as a concept for a beginner such as I, as it obliges one to hunt through for a 'simpler' piece, with a 'surprise' element when one pops out of the page. The first 'C' parts, for instance, with no sharps or flats, occur at 40 and 41. A heavy leaning towards 4/4 time signature, with a dusting of 12/8 or 6/8 and a couple only of 3/4, with a lonely 7/4 and 5/4. As a drummer, I would have expected a bit more 'swung' 3/4 (I suppose the 12/8 pieces could be played as such...), but that's maybe because I'm old..! There is one (497...) 6/8-3/8 (4 flats...) to spice things up, followed on the same page (499...) by a straight-forward riff in 'C'. Chords are noted for all bars of every piece, which help in 'hearing' what's going on; one could even generate a backing track to play along to (although, as the raison d'être is to improve reading, that's just a bonus...). All the pieces are musical, not simply 'made up' as dry exercises (no, I've not played 'em all, but it shows, just the same...). Any criticism..? Not much; not much at all. As with many methods, I would always prefer a spiral, 'lay-flat'l binding, but I realise that this costs more, and, to be fair, this book is supple enough to lay pretty flat without that. Other than that, and the scarcity of more divers time signatures, I have no hesitation in awarding five stars, and offer thanks to Alfred for bringing the book to our attention. Well done, lad.

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

He's done it before, and in what style..! Bloomin' marvelous...

I already have a few 'one-button' mastering suites; I'll trial this and compare. The demo tracks on the site did nothing for me, as they're EDM, dance-y, disco-ish and I'm more classics-orientated. I'll see; thanks for the 'heads up'. (Disclaimer: I'm old, and half-deaf, so ...) Edit : This compares very favourably to my ears, with presets that do what they say, with enough subtlety to not be intrusive, but enough effect to be heard when A/B switching. Well worth the price (I've limited income; each decides their own notion of 'worth'...). I've a fifty-year old rehearsal session with 'duet' vocals, 'ripped' from my reel-to-reel tape, which takes on a new sheen with this. Thanks for posting.

I'm still wading through the Schubert back catalogue.

This ^^ won't be going into my radio playlist. I'll file under 'grate' records.

Lower away, Jonny; lower away.

Disclaimer : I'm a drummer, and quite (no, very...) old, with duff hearing. Of those two tracks, however, I hear nothing amiss. I'd be surprised to hear the sound of the 'wet' track recorded 'dry' from a 'P' bass. If that's the sound you're after, carry on with the '*-load' of EQ; there's no problem with that. The 'dry' sound is a perfectly reasonable, dry (d'uh..!) bass, played with a pick, max tone and DI'ed with no amp. It's certainly not 'dead', 'muddy' nor 'muffled'. What are you monitoring through..? Just my tuppence-worth, subject to completion, correction and/or contradiction from others.

Joni Mitchell trod a very eclectic and fruitful path.