Dad3353

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

There are many songs in our repertoire that I'd rather listen to as our version than the original, as I prefer to hear 'em played that way (and I know the musicians ...).

[Pedantry] Actually 3Gb, for obscure technical reasons.[/Pedantry]

There's an English translated version..? I didn't know that; we've had this in our repertoire for about... Well, even longer than that..! Jolly good stuff it is, too. Edit: I've just looked it up. The playing is the same, but the lyrics (and singing...) are dire..! I don't think we'll be adopting that version..!

Yes, that is correct, and would be the case with just about any interface with two inputs. You could cheat, however, with your current interface, by taking the o/p from one of your mixers and using a DI to go into the mic i/p of the UR12, the other mixer going into the other i/p. I'm assuming that the UR12 can record mic and instrument together, on different tracks in the DAW..? It might not be quite as flexible as the UR22, but it's perhaps worth a try..? Hope this helps.

How about a bit of 'Out of the Box' thinking..? Innovate with a three-drummer band..!

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

The quality of the recording will not be an issue with any decent, modern PC or Mac, and any decent sound card will be capable of sufficient quality, too. The more 'heavyweight' equipment is when recording multi-track sessions, with lots of power-hungry effects such as reverberation and the like. For simply playing back stems and recording a bass line or two, an i5 PC, 64-bit OS (Windows 10 is fine; it's what I use...), 8 Go memory for instance will suffice. S/h will work as well as new, but the OS would be best installed 'fresh', as a s/h machine may well have 'issues' from that perspective. The 'Focusrite' interfaces are pretty ubiquitous and highly rated, such as the Scarlate 2i2, which will do all you're planning on. Other models are available, of course, with more features (that you may be interested in or not...), and many other brands, too. The 2i2 is not expensive, and is certainly not 'cheap'. Software..? Potentially a minefield, as one's affinity with its modus operandi is difficult to know in advance. I use Reaper, which will do all you're wanting, and I find easy enough to get good results from. It's free to try fully-functional for an unlimited time, and for which there is much help available, both here and on t'web. Acquisition is modestly priced, too (£60, if memory serves...). There, that's enough to get you thinking, I hope. Others will chip in, too, so you've a lot to cogitate. Aspirins, maybe..?

Good morning, Eddie... Best be seated, perhaps, as you're not going to like this; sorry. On a positive note, yes, the concept is good, as you don't want or need to have folks, especially deciders for venues, to listen through whole tracks. The snippets should be much shorter still, I'd say, so that the whole thing compresses down to two minutes, three at a maximum. If they want more, then sell 'em the album..! No, that wasn't the bad news. I'm afraid that, for me, it was far from an 'enjoyable listening experience'. The Teaser, especially, is very badly mixed, with the vocals way too far forward. Durango was better from this point of view. And 'Sorry...', but that's not the bad news, either. The vocalist does his best, I'm sure, but would be helped by a decent dose of treatment, such as a spot of reverb sweetener, maybe a touch of delay, to open up his slightly flat voice. The choice of songs is maybe for something; if one is to present 'Spoonful', it'd better be darned good ('tis really not the case, here...)..! Uninspired drumming, which wavers about, keeping time (just about...) without keeping rhythm. Weak guitar, with a weak sound (not just the mix, it's not 'musical'...). The bass comes out of it the best, but that's not to say that it's good, 'cos it ain't. No, no 'bum' notes that I could hear, but it's certainly not 'locked in' to the drums (Hmm, maybe that's not such a bad thing, considering the drums..?). No drive, energy nor 'push'. For a three-piece (vocals don't count here...), something has to drive the thing forward, and preferably all three. It's the hardest of all combinations to master, and there's a long road ahead of you. I'll be honest and admit that I couldn't listen to both tracks right the way through, so may have missed any hidden gems, but I gave it a go, and would not book the band for a gig, sorry. Keep the concept of short extracts 'segued' together in one 'take', but better treatment, and even better playing would make the most difference. My apologies if this comes across as harsh, and I congratulate you (yes, all of you...) for having put together so much material. Needs work, really, and there's promise there all right. Hope this helps; peace.

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

Hmm, that's odd. A quick search shows me twelve studios between Leeds and Worksop. I'm sure that at least one would allow you to record your bass line to your other tracks, for a fee far below the cost of your own rig, and to a guaranteed high standard, too. Still, if that's not an option, it's going to mean buying a computer (PC or Mac; both will work...) capable of the job. Not too difficult for simply playing a bass-line into, but for multi-track sessions, a decent machine will be required. Then an interface, to plug the bass into, or the line out of your amp, and/or a mic or two if you want/need to record the cab. Software would be the easy part, from a cost perspective, but it must be capable of importing the stems you'll receive, which could come in a variety of formats. Some are more easy to assimilate than others One other requirement, and not the least, is an environment in which to carry on this activity. You'll need sound equipment to listen to the stems, and your addition to 'em, so monitors, on top of a good headset. Space, in which to put the gear in, and be able to leave it set up; you won't want to be opening boxes and cupboards every time the postman brings an order. Preferably free from extraneous household noise, or trafic, or neighbours and the like, more so if you'll be using mics. It's quite feasible to do all of this on a modest budget, but some know-how would be needed for that. As you rightfully remark, these systems are quite far removed from the previous generations of recording gear; are you up to the challenge..? There's a considerable learning curve involved. Good luck with the project, whichever path you decide to tread, but I'd still recommend giving the local studios a visit, and discussing any options they might propose. You never know, there could be some pleasant surprises in what they can offer you (including offering you session work when they, themselves, need a bassist..!). Hope this helps.

Not only the music itself (as if that wasn't enough...), there are associated concepts and talents. This is Part 1 of 3; all well worth the watch...

No studios in the vicinity, or at least a buddy with a home set-up..? That's the most cost-effective I can think of, if starting from scratch.

I'm not sure I'd agree that this was the case. The drums programme was just as much about rhythm in modern music, and made no mention of the 'iconic' stuff, such as the Oyster pearl 'Ringo' kit, or Bonham's double bass drums. Percussion was covered, as was electronica. The guitar programme mentioned 'The Log', it's true, but dealt more with the evolving sounds of the guitar than their actual manufacture. I thought that the three balanced each other very well. Just my tuppence-worth.

I saw them (again...) that year, in Rennes. It's quite an experience. Some of their 'songs' are longer than the whole set of some other formations..! Epic stuff.

Bande de racistes..!

At the time, mid-'60s, there was a lot of stuff coming out that was, let's say, 'unusual', different culturally from 'South Pacific' or Frank Sinatra. 'Freak Out' was amongst these gems, and the rot set in immediately. It's all good, in its own way, each with its own idiom, and of its own time. From the exuberant cross-dressing stage shows to the philharmonic opus, the slathering guitar-fests and discordant horn stabs, percussion solos and Duke's 'singing'... there's a universe full of unimaginable talent stirred into a tasty soup, each day a different 'flavour of the day'. I listen to the later offerings with open ears, and play again (and again, and again...) the early stuff, hearing new things at every session. Unbeatable value for money, that bloke (and his team(s)...). I'll admit that it took me quite a while before giving 200 Motels a listen-to, entire, in one sitting. Too much soup can cause indigestion if ingested too quickly (or if it's too hot...).

Clearly a nut job. (Makes a bolt for the door...)

You're 'on the money', and so much the better, but, at the time (late '70s...) there was not the same choice of instruments, at these price points, as today. It helped, too, that, at the time, I was working in a music shop, and got my brother's Selmer at a greatly reduced price compared to its 'street value'. Between a Mark VII and a student Boosey & Hawkes, there was quite enough difference to be worth the saving up, proven by the excellent condition of his sax all these years later. There's no 'right' or 'wrong', of course; we all deal with the situations we find ourselves in.

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

I think (but could be wrong...) that the OP was thinking of building his box for much less than £215.

Good evening, Arno, and ... Plenty to read and amuse you here, and lots to learn and share. Hmm... Drummer from France, eh..? They're taking over, it would appear..! ...