Dad3353

In 'stereo' mode (or, in your case, two distinct mono channels...), if one amp fails, the other keeps going. In 'bridge' mode, if either amp fails, the whole PA fails. In reality there's little chance of that, so, just for simplicity's sake, I'd keep the 'stereo' mode, and be able to set the volume level separately at each side (useful in an asymmetric stage set-up, for instance...),which 'bridge' mode won't allow, either. Phonically, for the audience, there's no perceived difference. 'Bridge' mode would be useful if expanding the PA, doubling the speakers, for instance, and adding a second, equivalent, amp, as it permits getting the full power from the amp, to drive one side of the new PA rig. Hope this helps; subject to completion, correction and/or contradiction from others.

Who said that..? Is there someone there..? I'm sorry, I can't see in this dark room with my eye-shades on. What..? What's that..? Oh, the pain has almost gone, but the thumping at the back of the skull keeps fading back . My own fault..? Oh, yes, I now know, at my own cost, why I dislike so intensely that Big Beat Disco 'Thump..! Thump..! Thump..!' No, no, leave me; leave me now, please. It's all starting again..! Good gracious, will it never cease..? One, one, one, one, one, one, one, one, one, one, one, one, one, one, one, one, one, one, one,

I'd suggest that the most inexpensive, and very effective, method is to have everyone, singer and drummer included, using headphones. It doesn't sound too 'rock'n'roll', maybe, but needs must etc. The physics of it are simple enough; sound is changing air pressures. If no air can leave the room (and none enter, so problem..!), that's a start. Next is the floor, wall and ceiling themselves vibrating, transmitting the air pressure changes inside to sound outside. To stop this, one needs to absorb the energy inside, and that means mass. An extreme would be to play inside a WWII bunker; that's the 'logic' one is looking at. It can be done fairly cheaply (all is relative, isn't it..?), but becomes very quickly industrial, with inner 'Russian doll' rooms of breeze blocks. Complete phonic isolation from the outside world is a Big Deal, so limits would have to be set on what's achievable with whatever budget is available. Headphones then become rather more attractive (to those paying, at least...) Hope this helps; Good Luck with the very worthy project.

Done (but it's certainly not BC's finest. There's a right lot of old carp in there ...)

Here is my contribution to the October 2019 Basschat Composition Challenge, inspired by a picture chosen by the previous winner: Lurksalot. The track title says it all, really; a Big Beet, with a hefty chunk of Cheese. A complete antithesis of the bucolic calm of the photo, but I can't dictate what comes into my head when I see these pictures, so... Two Superior 2 drum kits, and a subtle bass drum sample, three VST bass tracks (Ruby, a Rickenbacker and a Moog...), a sprinkling of free-of-rights samples, the whole caboodle liberally dosed with my 'standard' Cockos treatments (Compression, EQ...), plus Neutrino, Ozone and some sparing dollops of delay, tastefully garnered and mixed with Reaper. When dancing, please try to avoid trampling on the plants; I'm off to buy some more aspirin. Thanks for listening, if you already have; if you're about to, enjoy.

If they are not euphemisms for bagpipes, yes.

Well, it's not Roquette science; how Chard can it be..? I'll do a Big Beet for this month, Cos I can. S'gonna be a Little Gem. Lettuce see at the endive I win, eh..? ...

Hmm... 'Dogless', eh..? Freudian slip..? Intended malice..? Pure coincidence..? The jury is out... Dad3353 ('Douglas' to his friends...) ...

And the winner is... Lurksalot.! Here, then, is your Winner's Certificate (download and save as pdf file, then proudly print and frame...) ... BC_Chal_Cert_2019_09.pdf ... which looks like this (but bigger, of course..!)...

Done. The 'quotes' are easy; it's the Smilies that are a bit of a beggar. Sometimes I get 'em wrong.

Here is my contribution to the September 2019 Basschat Composition Challenge, inspired by a picture chosen by the previous winner: myself..! A segue of sorts taken from various MIDI files I had lying about, and sewn together to create a toe-tapping serving of toasted cheese. BFD3 drums, Roland percussion, a Sensual Saxophone backed and doubled by The Ladies in fine voice. Roland was used for the piano, a Spicy Guitar for comping, several Kontakt instruments and, of course, my Ruby acoustic bass. No Fx, just a splodge of Neutrino for each track, the Cockos NY Drum and Master busses and a final dollop of Ozone to bind it all together. Thanks for listening, if you already have; if you're about to, enjoy.

Thanks, folks. Something a bit more Challenging for the September Challenge, though, so off we all go (just follow the link above ^^ ...), to be inspired to enter an entry..! Good luck...

And the winner is... Me.! Here, then, is my Winner's Certificate (which I don’t need to download and save as pdf file, but will certainly proudly print and frame...) ... BC_Chal_Cert_2019_08.pdf ... which looks like this (but bigger, of course..!)...

A small cognac, a little before it all starts. Do not exceed the dose, though. You could also set up, yourself, a video camera, pointing only at yourself. This can be done in advance, at home, in the car, at rehearsal... Good luck with the studio takes.

One like this will do the job; they're easily available from many sources... 'IEC'-type mains cable with UK plug and socket ...

I'll repeat the post on September the 10th, then (and I didn't notice any smut... ).

Fixed.

Very tight-fitting lower undergarments.

No, sir, I am not, and any 'planing' I do is down to officially-prescribed medicinal drugs..! ... No, seriously, there is already a splendid 'sticky' topic giving bucket-loads of advice on home recording in general; any 'mixing and mastering' tips would, I think, find a natural home there. I'd post tips there myself, but for lack of competence. Disclaimer: I'm an old, half-deaf dummy with limited skills but almost unlimited time to devote (until my Last Trump is sounded, naturally...), and, once I get an idea in my head, I just work it through until I'm satisfied that it won't get any better. My 'mixing' consists of listening, then listening again; repeat ad nauseum until I like it. I use 3db steps when altering levels, as any less makes no difference to my cloth ears. For mastering, I used to cheat by using AAMS, a mastering software suite with a whole lot of presets; I'd just choose the genre I thought best suited. Nowadays, I'm using Ozone, with another set of presets, with which I do the same. Yes, it's lazy, but my competence stretches no further than that. As for 'subtle': that's the first time I've had that used regarding any of my offerings, and I'll take it as a huge compliment (such is my vanity...). It's far from the usual epithets associated with my contributions. It can't be down to my failing hearing; maybe I'm just getting a little bit luckier..? Many thanks, in any case.

... and the teeth chattering, and knees knocking..!

Here is my contribution to the August 2019 Basschat Composition Challenge, inspired by a picture chosen by one of the previous joint winners: Upside Downer. A bare bones composition somewhat sparce, with, I hope, a quizical atmosphere. The essentials were teased out of EZ Keys, underpinned with a Trillian acoustic bass. Some horn playing, naturally, by Roland. The purring cat is hidden behind some royalty-free atmospheric pad samples; a dose of Ozone finishes it all off. Thanks for listening, if you already have; if you're about to, enjoy.

Keep running... ...