Dad3353

Very much more important to choose wisely the audio interface you'll be needing, if you're at all serious in your desire to record stuff. For a modest outlay (second-hand is fine, if guided in your choice...), the ease and quality of your recordings will be ample reward. Ask for advice if/when you go down that route, but you'll thank us all for it. As for Cakewalk v Reaper ... I tried Cakewalk a short while back, but I have already my way of thinking modelled on Reaper, and could get nowhere with it. I must admit to finding Reaper very easy to work with for simple things, which is what I do, but able to extend much, much further if required. Simple things are simple with pretty much any model software, I'd say, but not all are capable of more than that, once the initial 'honeymoon' is over.

It would appear that that train left the station quite some time back. ...

I was listening to a 'shoot-out' comparison of various renderings of this, whilst getting off to sleep last night, which inspired me to listen further this morning, so here it is...

There will be a 'learning curve' with any 'effective' DAW'; Reaper is no different. Many years ago I looked into the various offering for a Windows PC, and ended up choosing Reaper. I've looked since at later software, but have retained Reaper, as it does everything I need/want to do, for a price I'm able/willing to pay. Try it for free, ask any questions here or on the Cockos Reaper forum and decide for yourself. It's no harder or more difficult than any other, and 'makes sense' (to me, at least...) in the way it presents stuff. Hope this helps.

If one takes the definition of 'mediocrity' to mean 'average', then it's not really a surprise that most populations would be appealed to, to a greater or lesser degree. If one interprets it in a pejorative light, it takes on a different hue. Just a question of point of view, really. Is being 'average' bad..?

That's 21° F, in old money.

I bought a (very cheap...) guitar with my first brown wages envelope, mid '60s. Struggled with Mickey Baker chords, then bought a Hofner President guitar. The chords got a little easier. With a younger brother and some of his school mates, we played strange compositions and a few equally strange covers. The bottom strings of my Hofner became the bass, for lack of any other instrument. We played a few 'gigs' (a willing pub in Hounslow, a couple of church hall youth clubs...). It was the drumming from Fairport Convention (Martin Lamble, RIP...) that turned my attention to drums, and I never really looked back. I still play bass, and guitar, on and off, but basically I'm a drummer, and that was how it came to be.

Topics such as this will, every time, receive a tribute to the much-missed Sandy Denny ... As a bonus, it's drumming like this that inspired me to take up drums, with that sly, discreet 'killer' whip on the hi-hat. Not much to fault with the Fairports of this epoch.

At least expenses such as travel should be offered for such an event. Poor show. What animation will they get instead (or none at all..?)

Beethoven, Concerto n°4, Rondo for piano and orchestra. Kurt Masur (Chef d'orchestre), Hélène Grimaud (Piano), Orchestre Philharmonique De New York.

On the disk, there's a 'walk-up' at 2:55, and another at 3:05, neither of which are critical, and entirely 'ad lib' for this kind of song. The basic structure remains he same throughout; he's simply got a little bored of just the riff and is stretching his fingers a little. To be imitated, or not, but is of no real consequence either way. There's a clue in the title of the song. Hope this helps.

I never tire of Schubert's Ninth.

I'm sorry, I missed something. Could you post it again, please..? ...

4k5..? I spent less than a quarter of that on an accumulateur water tank, 220l, with a heat-pump in its head. It runs off-peak, about 4 hours every other night, set to 50°C, and consumes 750W to do so. It has 2.5kW elements, but I've not connected them at all, it's just the heat-pump, s'all. It supplies showers, bath and washing-up for our household of three, for a daily running cost of less than 2p (so £7/year...)... Edit : Apologies; I didn't realise that this was for central heating, and not just for domestic hot water, so no comparison. No piped gas here, though, so I'll keep the wood-burning insert and a nice warm dressing gown.

Any and all of the combinations mentioned above are worth experimenting with, if you've the luxury of time, and a decent environment to record in. @Jakester's first suggestion makes the most sense to me as a starting point, and should give decent results with the combination of mic's available. I wouldn't put the bass drum mic inside, but it's all a question of 'suck it and see', really. No need to go mad, either; the differences, in a 'domestic' recording, are not going to be so flagrant as to be deal-breakers. Try the simple solution first, then play about with distances and positioning, then just concentrate on playing, and ignore the mics from then on. The mic's chosen may not be the ideal preference for a studio engineer, but will do a fine job, I'm Shure.

Not available for us oldies (1950...), except double-basses. I'd have issues trying to wield such a beast at my age.

Fixed.

... which is simply the shorthand version of 'passing a hot knife through butter', implying ease and/or speed.

Invest in a looper pedal; play a couple of bars, switch to 'loop' then go lie down until it's over. With such a bass sound, you might even get away with no pedal, if you can capture some 50Hz buzz instead. Darned awful sludge, for my old ears. I'll not be listening to it twice.

Simple black nylon, but my Hofner Verithin is very, very light, so...

Great sounds were being made before, during and after modern gear became available, and will always be made, as long as there are fingers and ears to make 'em, in my opinion and experience.

That's not 'losing them', that's 'hiding them', probably to recover them later for his own use. Hmm... Not cool.