Dad3353

My ears are 100% cloth; I heard no difference between any of the comparisons. I could not tell, if played back blindfold, which body was which.

And quite a lot suffering from tinnitus or worse (is that possible..?).

In our little 'family' band, our Singer was the Drummer (and good at it...); I played bass. After a while Our Youngest picked up bass, so I switched back to drums (I'm a drummer...) and now our Singer is free to express himself fully as Singer/Frontman. He has no timing issues.

Latency is an inherent part of many instruments (most typically : wind...), and is dealt with, usually, by anticipating the 'beat'. Summoning a large gong is an extreme example; one does not just 'bang' it; it has to be prepared. Experience helps.

ADJECTIVE Of, relating to, or produced by a prism, especially one which is transparent; (in extended use also) brightly coloured, brilliant. Origin Late 18th century. From prism + -ic. Compare earlier prismed, prismatic, prismatical.

Busted string, and no spare..? Amateur..!

There are many names I've only ever heard because of this Forum. OK, I'm a drummer, but I'd put the percentage at a rough 80% 'Who..?'. Not just because of old age; a lot of these famous folk are ony known to a limited circle.

And which causes few issues. However, this topic started with... '... I'm feeling apprehensive about putting my hearing in the hands of sound engineers whose experience might not be that extensive. Something similar happened on our previous two gigs ...' Taking back control removes the potential of having a repeat of those issues.

OK, I understand that, but who has control over what feeds the IEM amplifier..?

The issue, it seems is 'Who is it that has control over the volume..?'.

Although there's a few Dylan and Joni covers in the early years. Quintessentially British, though.

... and Fairport Convention..?

Oh yes there would.

Here is my contribution to the May 2022 Basschat Composition Challenge, inspired by a picture chosen by the previous (joint...) winner: NickD. I started off with a blank sheet and doodled some chord sequences; this was the result. My apologies, any link to the picture is un- (or sub-...) concious and fortuit. I finally settled on M-Drummer (two tracks...), a couple of string tracks, a bass, guitar and sax from BIAB and that's about all. Some tinkering with levels, my standard Cockos compressions, all in Reaper. Thanks for listening, if you already have; if you're about to, enjoy.

To be held in Moscow, the capital. ...

Errol Gardner's 'Misty'. I've been at it for over forty years, now. One day, though; one day...

For what it's worth (that's to say : very little...), my 'Tip Of The Week' is simply 'Less Is More'. A convenient point of view for me, as it happens, as I have Official Cloth Ears (when I say 'cloth', think several layers of thick blanket under a duvet, not cheese-cloth...). I can't hear 1 db, and 'slight', to me, means 3db at least. I have tried 'tweaking' stuff, but for many years now have taken to using almost none of the bells and whistles which my PC has at its disposal. I use Reaper for DAW; the Cockos compressions supplied are always 'on', with a NY drum bus for any drums I'm using ('live', programmed or samples; whatever...) and a NY Glue on the Main (Output...) track. There may be occasions where Fx are used, as Fx, using my 'broad brush' technique, and I have on a few occasions resorted to mastering stuff such as Ozone presets or the like, but nothing I've ever found or used has made any of my sow's ears into silk purses. I listen, many times, during my composition phases, and judge, for better or worse, the results by this simple expedience. Of course, this can be realised by listening to my Challenge output, where the inate qualities of my music are marred by my inability to better the Production, which is why I garner so few votes, mostly. Those efforts that have won, on occasion, have, however, no better treatment than any other. My conclusion is, then : if it's to be voted on, the Production matters far, far less than the Composition itself (gauged against the Composition of the other entries...). As best as possible, then, but no need to overthink anything. Less is often More, and no-one will hear or notice that subtle 1db in the upper mids (least of all me...). Just my tuppence-worth.

...

No. (... and I did watch some of this 2022 stuff, and thought it to be 'rubbish'.. I could elaborate on that brief comment (Bananas, anyone..? Whatever...), but it's too painful to go over in any detail. Not to mention the kilo (mega..?) watts of lecky wasted on a fabulous display of 'lighting' overkill and ridiculous 'choreography'. Tawdry dross, I say...)

Once again, as if further proof were needed, we can see what completely different worlds we live in. During a pause in a programme I was watching, with Our Eldest, we 'zapped' onto this Eurovision thing. We didn't stay long; just enough to hear/watch a couple of acts, and got back to our evening viewing with some alactrity. Some people like that stuff..? Some even think it's 'good' (or more...)..? There's no accounting for tastes. It's a rum ol' world, right enough. The old Morecambe and Wise line came to mind... (The topic title is 'Eurovision 2022'; there is no stipulation that only 'positive' comments are allowed. Just sayin' ...)