Dad3353

... but managed to swap basses during that time..!

Ha..! That month (July 2015...), it seems that I prepared eight compositions..! Here's one of them (no, of course it's not an entry for this month, either..!)... Happy daze..!

Indeed; any kitchen 'Scotchbrite' pad will do the same job, or an india-rubber (eraser...). Once rust-free, it used to be custom to apply varnish (clear nail varnish..?) to the poles to prevent further tarnishing. Is it worth the bother..? Not to me, but...

The air itself could be responsible for tone changes, as it is through this medium hat the sound travels, and air density affects this, compounded by humidity changes. I doubt that the electronics of the amp would be affected (we use full-fat valve amps, and have done for decades with no such issues...). Just my tuppence-worth. Douglas

Much the same as above ^^^^^^. We don't have budget for fancy stuff, but even if we had, we still prefer 'old school'. Old dogs, new tricks, perhaps.

This is all becoming just a little confusing. You stated earlier '... a short record demo with synth, piano and drum samples. They mixed it at volume when there where a lot small clips in it ...'. These days, with ordinarily decent gear (such as your Focusrite...), there should be no question of clipping, ever. It used to be the case, in bygone days of yore, that the dynamic of of the systems used were very sensitive to clipping as the level had to be maintained high enough to combat the inherent noise threshold. This is no longer the case, and recording individual tracks at relatively low levels is preferred, the noise being now insignificant. In mixing, here, too, levels need not be high, for the same reason. Only at the final stage of mastering could one envisage raising the overall level (still below clipping, naturally...) to match the output medium targeted and the style of music. If there is any clipping at all in the very first drum/keys/samples mix, there is already a problem, and red flags are raised. Hmm... I'm not sure that any single word of advice is going to be useful here. It sounds as though a training course in the basics of recording/mixing is required, or maybe another twenty years of bitter experience, to learn the hard way.

There may be clipping in the bass (or any other frequencies, really...) which is not present in the individual tracks, but occurs once combined (mixed...) with other instruments. It's up to the engineer to determine how best to get the final result desired; the bass tone alone is not an indication of the tone in the context of the whole piece, with the other instruments. There is a question of both trust and competence in the person doing the mixing; if he/she is trusted and competent, the end result is what counts, not the individual tone. If in doubt, try to be present during the mixing phase, but be warned that it's often a source of conflict if there is disagreement, and can become unpleasant. Let the person do what's required, as long as the end result is perfect, I'd say.

We're Luddite dinosaurs here, using vintage Mesa and Hiwatt amps through cabs for backline, even in pubs or the small venues we play. Our most recent outing had me take e-drums, but even the high-end kits can't compare with an acoustic kit. The big feature of all of these solutions is the control of overall volume and balance, but being musically aware and reasonable makes even this advantage rather moot. I can't get a realistic jazz brush swirl, or timpani-stick crescendos, from an e-kit, and our bass amp has a volume control that works. It's the only control used; no need for pedals, tap-dancing or programming; just fingers and ears. We'll not be investing in modelling any time soon.

Not really. The original recording may have sub frequencies that 'clip', unheard through the JBL monitors, but troublesome played through a sub. There's not much that can be doe to correct this except shelving these frequencies away; ideally the recording should be done again, being aware of the potential problem. In theory, filtering these sub frequencies out won't alter the tone as heard through the JBL's, as they were not heard in the first place. Looking at the recorded waveform would show up any low frequency clipping, I would have thought. Just my tuppence-worth.

It's true I'm not the sharpest knife in the drawer, but I can't work out what this sentence is trying to impart. Is there a decoder available, please..? Is this about immigration, or illegal immigration..?

Yay..! Free smoke machine..! Yay..! ...

I hope not. Krusedulle Shop ...

@BassTractor : If it's U-tube you need to hear stuff, here's a video version of my piece posted earlier, with some of my model 'planes as a distraction. Enjoy (once 'they've' finished processing it...)...

/topic

You are Cassandra and I claim my £5..!

A Baltic hat-maker..?

S'not Alice, is it..? ...

This may be so, but that's not what I took from the posts at all. We interpret things differently, it would appear.

Disclaimer : I've no idea who or what they/it are/is either.

It takes years to build a good reputation. It takes seconds to lose it.

Posted on behalf of @AndyTravis, sadly handicapped by his unfortunate choice of apparatus...

Here is my contribution to the June 2023 Basschat Composition Challenge, illustrated with a picture chosen by Upside Downer. Wanted, to Buy: Adult Trampoline. Mine was very recently stolen; urgently required as I'm coming down very fast now. One-take guitar tracks using my newly-acquired s/h Blackstar ID:Core 10 for the first time. Guitar is my trusty black sparkle Xavière. Fruit shakers, and a 'Purdie' drum sample, adjusted for tempo. Treatment..? Nah, not really, just the usual Cockos EQ and NY Bus compression (and a little delay on the drums...). Thanks for listening, if you already have; if you're about to, enjoy.

Something like this..? A bit more detail would be best. Radius of curved corners..? Diameter of screw holes..? Colour required, and how many..? Urgent or not so much..? Douglas