Dad3353

This, to a 'T' (well, not the Finland bit, obviously, although rural France can be quiet, too...). I prefer listening to 'From The Mars Hotel' in my head than any radio station.

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

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

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

Was Beethoven classically trained..? Yes. Did he invent stuff..? Yes. So, it follows that being classically trained is not a barrier to being inventive. End of.

I think it's much simpler than that, and have already posted so, but, to repeat... 'Is having a thorough formal music training a barrier to being inventive?' No. /topic

Yeah, but he's using both his hands..! I'll not be trying out that drum plan for our next 'Fake Plastic Trees' session. Other than the very smart, and delicate, 'thrash', I'm not impressed by the rest of 'em. Can't sing for toffee, either.

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

You do realise that I'm a drummer, don't you..? ...

Sorry; I'll stop now, then. ...

Much of this rings true, but I don't see why it should be portrayed as such an 'either/or' process. There's no obstacle to, little by little, adding to hands-on experience with progressive theory either directly related or simply interestingly parallel. From my family, I had no musical input, but we had music lessons at school, much of which was academic (no instruments, just listening to stuff or explanations of historical movements...). I spent some lunch breaks at the piano in the school hall, working out for myself (and thus, understanding, sometimes...) intervals and scales. They made sense on a keyboard in a more direct manner than a fretboard or even a stave. When, having left and started work, I bought a guitar, I also bought a method book. Unfortunately (or not...), it was the Mickey Baker Jazz Method, so the first notes/chords I struggled with were six-string Major and minor 7ths, and the infamous D13b5b9th, which nearly broke my hands on the rubbish Russian-built steel-strung flat-necked classical guitar I'd bought (yes, I was poor...). I played, I listened, I read stuff, I even understood some of it, and it has all served over time, and has been built on. As a drummer, my 'need' for deep comprehension of harmony or chord sequences has been limited, but has always served, when winging it with an unknown French polka, for instance, picking up when the accents need placing. To summarise, I'd say that it's all good. In this instance, to me, less is not more. I cannot, naturally, place myself in the head of others, but I have difficulty imagining how 'creativity' could be hampered by absorption of knowledge, in any artistic field.

He may have been keeping just the DI track..! ...

It's incomprehensible to me, as is buying pre-ripped jeans or 'street-rat' motorbikes. The other extreme of car 'detailing' is also foreign to me; am I a Bad Person after all..?

There are four chords..?

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

One very good reason why they're so ubiquitously popular as 'live' vocal mics..!

I'm not sure that having music playing in the background whilst doing other stuff counts, really, as 'listening'. I think I'd say that that was 'hearing' music; to me, (I may be alone in this definition...), 'listening' involves having a focus specifically on the music. I'd compare to 'listening' to a speaker, as opposed to 'hearing' someone speak. Not that there's anything inherently wrong, but, to me, there's a definite distinction. I may (not often, but it has happened...) play a favourite piece whilst doing the washing-up, but it's not at all the same when I sit down and play the same piece, settled into my armchair with closed eyes (OK, OK, I nod off on occasion. I'm old, OK..? ). Just sayin'.

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

For the price of two month's subscription, you could get a full license for Reaper, and get full access to all its very extensive features, including usage of Vst's, from the go-get, as the free-to-use 'trial' pre-purchase version is not restricted in any way. Downloadable for PC or Mac (there's a Linux version, too, being beta'd...). I can't see what Pro Tools has that Reaper hasn't for home use, or even semi-pro studio (apart its cost, of course...). Just sayin. As for the bass sound: I can't really help, as I usually prefer to use the 'dry' direct sound of my basses in any case. Sorry.

True story... I was about 12, we had another weekly music lesson. Mr Smith explained he was to play a disk; we would listen to it, and note the differing parts of the symphony. The disk was played; we were asked, one by one, what we had noted. Many got the right answer (three movements to the work...), some dolts had heard nothing special, or hadn't bothered. He looked at my notes; I'd filled a page with pretty much each change of theme or phrase. There were well over a hundred 'parts' that I'd picked out..! Over-thinking it, that day..!

This ^^ is excellent gen from One Who Knows. Good Stuff, BRX.

Oodles of fine musicianship here ...

Could do with a re-fin, though. ...

I remain loyal to my favourite classical composers (Schubert, Bruckner, Mozart et al...), and the bands I appreciated at the time (Fairports, Airplane, Grateful Dead, Spirit et el...). I often give some time to stuff indicated on this Forum as being worth a shot, especially played by Forum members, and the stuff I've actually bought in the last few years comes exclusively from these sources. Most stuff, though, I don't give a second listen, and even more I wouldn't even give house-room to (most funk, disco, reggae, edm; in fact anything with a big 'one, one, one, one...' beat...). Old School, me..? Quite definitely..!

I pity anyone tuning in to mine..!