Dad3353

I'd add to the above to declare that rare are those that enjoy listening to their own recordings, more so still in their raw, unprocessed, solo state. We are our own worst critic, never satisfied with what we hear. Ask anyone to sing something (anything...) and then listen back to it; it will pretty certainly be with much cringing and pulling of sour grimaces on their part. As the player, we can only hear the 'errors', whereas an independent auditor will absorb the whole. It's not really all that helpful to wallow in past performances, especially home practice. The (enlightened...) opinion of trustworthy friends, colleagues, or even family, at a push, is far more fruitful, and liable to be more accurate. Just sayin'.

Better than white is a pair of Par's or equivalent, one each side oriented towards the opposite corner of the stage area. One with a very pale orange/straw filter (Lee 205...), the other with a very pale blue filter (Lee 201...). This gives frontal lighting with a slight contrast each side of the band's faces, with no blinding beam directly in their eyes. Placed forward of the front of stage, as high as reasonably possible, angled across at 45°. Much better than plain white. Just sayin'; my 'Tip Of The Day'.

I popped this out of BIAB in a couple of minutes, It's F#, at 110 bpm. No drums or bass. Three 'repeats', but I could have set it up for 20 or more ... Gyrate Funky Dance Guitars F#_110.zip

These folk can provide backing tracks, customised to remove bass and/or drums etc. Worth a look..? Custom Backing Tracks ... If it's just for jamming, playing along to a style, I use BIAB (Band In A Box...). If you want something composed (a set of chords that you like, and a rhythm...), I can knock 'em out for you, if you wish. BIAB is very flexible, and one can come up with an infinity of arrangements, quickly and easily. Good enough for jamming to, that's certain. Any use..?

On drums..? Martin Lamble (RIP; was with Fairport Convention...) On bass..? Jack Casady (Jefferson Airplane...) On guitar..? Jim Hall (Chord/Melody style...)

Although, to be fair to yourself, your sister is not entirely wrong.

I'm not sure that that's a correct interpretation. it's not so much the accentuation of the notes as the attention given to them. I'd repeat a little of what I typed above : if you were playing this on stage, with other musicians, you would be more 'in the zone', engaged, 'being' the bassist. In your bedroom, where you've probably played this same piece (and others...) a certain number of times, on or off camera, there's a quite understandable lack of engagement. In itself, it's not an issue, until this attitude, rather than the playing itself, becomes second nature. The fire and fury, the 'drive', the 'in your face' aspect is missing, and a compressor pedal won't bring that out at all. Try playing in front of a mirror, standing, and go though the (OK, embarrassing...) movements of a 'killer' bassist (KISS..? Rush..? Not Entwistle..! ) just for the craic, for kicks, over-acting it. Don't act like that for an audition, of course, if that's not your personality, but a little of the 'spark' should become integrated into your musical routines if you're to stride out onto that (OK, tiny pub...) stage and play with conviction. There, hope that helps. No need to grime up with clownish make-up, though, if that's not really your 'thing'..!

I concur. ...

No problems with that, as a semi-pro bass player that's very respectable. It would 'warm up' somewhat on stage, 'live', with the stage ambience and standing, moving around, 'swinging', if you like, so the 'stilted' nature seen here is because you're siting down in your bedroom, that's all. I'd be happy with anyone playing like that in any band I was in (and I've played, as a semi-pro and a pro, back then, with far, far worse bass players...). Have confidence; you're doing fine. Sock it to 'em.

Which wasn't really my point; I only chose Mr King because he's, as far as I know (which is not much...) he does a lot of slapping. Tribute Shtribute; a Hofner Verithin strung with Trubass strings will not give a satisfactory 'slap' sound. Its physics won't produce the dynamics and sound signature of that style of playing. In similar fashion that a nylon-strung flamenco guitar is not much cop for Steve Vai screaming harmonics, a semi-acoustic bass has its limitations (and, of course, other qualities which make up for that, and which I personally prefer...). Yes, I'd agree that any bass, including my own, can be played in any style; any style at all. Will it sound any good..? No, it will not, however talented the player. Perhaps with a very clever modelling amp, or MIDI detection, it could be done (I've used my bass to play oboe through a MIDI cable...), but native, it's no good for slap, end of.

OK, if you must; my Hofner would, however, not be suitable for a Mark King Level 42 tribute band, in my opinion, whatever 'style' you might like to call it.

Our Youngest plays my fretless, and has done for the last few years, in our little group, playing pop/rock, with stuff such as Radiohead, RATM, DeUS, Bashung, Bowie, SOAD, Noir Désir and more. The bass, plugged straight into our Hiwatt head, and rock on. No intonation issues, at whatever tempo the number calls for. On darkened stages, mostly, where, without LED's, no lines or markers could be seen anyway, still less 'quicker than the ear'. It's a non-issue, I say, if the player has had the patience and ability to learn how to do this. Our Youngest is not a superman, he just practices and gets it right. Others may struggle, maybe, but some, at least, are able to do this without sweating it. Can it be done..? Yes, of course it can. Can it be done by everyone or anyone..? Apparently not, to read some of the above. 👆

And I'm a drummer, so what would I know.

Maybe that my problem. My 6-string fretless doesn't have (nor need...) position markers at all (no more does a double bass, a cello or a violin...). The intonation of each string, at each note even, is done by ear, not by a 'position' on the board. Of course the octave sounds like the harmonic at the twelfth (and the other harmonics keep contant check, too...), so, to me, as long as the bridge is reasonable (define 'reasonable'..?), as the one in the photo seems, to me, I see no issue with intonation. Anyone with an ear can play that bass in tune, all along the neck, with the bridge set up where it is.

You do realise that this is a fretless bass, don't you..? How does one intonate an acoustic double bass..? (A clue : using one's ears, and a decent dose of both experience and practice...)

? ? ?

The only sensible thing the 'thieves' can do now is to leave the yellow-lined case leaning against the shop door before scarpering quickly. It's pretty much useless to anyone without that particular bass. A pipe-dream, surely, but it would really put a cheery on this cake. It would then become an 'open'n'shut' case, no..?

Does the drum need a port at all, though..? For a 'concert' kit (no resonant heads...), mics inside the shell had its place (if close-micing is the effect wanted...), but a well-placed bass-drum mic, or a boundary mic, give a splendid signal for the desk, retaining the character of the bass drum. If it's the batter head dynamic that's wanted, mic the batter side. On the other hand if the drummer really wanted the sound of a ported drum, there are excellent heads with tuned ports on the market. To each their own, though. Does the floor tom get cut, too..? Why not..?

Maybe a parallel to be drawn with the humble flute, for example..? It has its scope as a solo instrument, for those that know how to play it well, and can be fitted into many more complex arrangements, as it has its own unobtrusive character that blends in well. Less is sometimes (often..?) more. Just a thought.

... and loses his/her left hand in doing so. Loses right hand if recidivist. No, seriously..!

Is it still 'singing' if one doesn't understand the language, though..? A quite extreme example could be Magma. A beat box..? Vocalist, Shirley, but what about the Beach Boys, with their 'Papa Oom Mow Mow'..? Singing..? There's a lot of songs and lieder, interspersed with 'La La La La'. Singing..? Hmm... Not so easy, really. Does it matter..? Just sayin'.

Hmm... I must be doing something wrong, as my Paypal account shows me the details of my transactions, both receiving and outgoing. If I received a payment for a transaction I don't recognise, it would raise alarms in my small brain. That's not been tested recently, as I buy little, and sell even less, but there would be a mis-match if payment received wasn't for your ad, but for someone else's, I'd have thought.

That shouldn't work, as the payment received would not match the reference of your ad.

If I'm reading this correctly (that's not certain...), I can think of only one 'good' reason for having a separate, common, channel for Fx destined for the Master. During the mixing, it may end up desirable to have a channel not going thought these common Fx, or at least switch between in/out to compare. If sending to a common Fx, it would be possible to 'dose' the amount of Fx for each 'send', which would no longer be possible, individually, if the Fx is only on the Master. If this individual control is not required (overall compression, for example...), having this on the Master alone could make sense. There's nothing wrong with using both notions, though: route all channels through a common Fx channel, to 'dose' them if they require tweaking, and have global Fx on the Master as well, knowing that these will affect everything, together. I'd use both; for instance I have my drums in a group channel, and apply individual Fx to each drum element, but also a NY Drum Bus Glue compressor on the drum group channel. I have another NY Glue compressor on the Master, too. My answer, then, is... Both..!