ironside1966

The sad thing is what Jennifer says is true and I have had quite a lot of personal experiences that’s back her findings up, I did the sound for a jazz band as a favour for friend last month every thing went well but at the end of he night not one member of the band said thank you, I just don’t think they grasped that I was giving them the value of a days wage. But where I disagree with Jennifer is that the some people do appreciate and know the value of such a generous gift, look at scholarships and how the have changed many peoples life’s

From my experience the bands that busk tunes rather than learn them properly tend to be in the in lower paid gigs.

I have said this many times before if there is a valid reason to change a line not a problem but if it because you can’t be bothered to learn the correct part, or worse still want to over play. Also what happens you stay well in your comfort zone not learning anything new just playing your well used chops. The type of person that gets thing right then this generally will shows up in the quality of a band as they will put the same amount of work or dedication into the band and not just busk. There is no right and wrong in this argument but it says a lot about what type of player you are.

Most of the really talented people I have met are very humble many of them teach so can spot talent even before it is fully developed. Like most people they like a good night out and can appreciate someone having a go and doing their best, having fun is contagious so just enjoy it. It is the people with less little talent and confidence who sit there pulling other people to pieces, there the ones who always show off rather then make music and go on about artistic integrity.

From my experience the bands that get their parts right get put the time and effort to get the music right and the musicians with the attitude of it will do tend to be in it will do bands but there is nothing wrong with changing developing songs/ parts overtime so long as it is self not indulgent and done for the right reasons.

Hit me is one of the bass lines that everybody plays slightly different and think they are the ones how have it right. If you are learning songs for an audition my advice would be to get them right especially with songs like good times because they might be set to see how you deal with space At a risk of repeating myself from a similar thread when you half learn a song you are staying in your comfort zone and not moving on. I am not going to knock Greyparrot because he is a fine player but he was faced with two choices to make the right way work and he would have learnt something or the easy way. PS I like Greyparrot's playing videos

[quote name='merello' post='1070468' date='Dec 27 2010, 08:17 PM']Bought today, getting returned tomorrow. Just would not install on my Mac despite every instruction, driver and support site being used. Really disappointing.[/quote] Have you the pace Dongle driver instaled? I know it dosnt need it but on the LE for PC it whould not install with out it.

One thing I have forgot to mention if you are going to pocket the drums do it first before you track the other instruments.

Over last year I have done a few reworks of band recordings done in project studios although the recordings were done by different people there seems to be the same common basic mistakes appearing time after time so I thought I post this and try to help some of you avoid making the same mistakes. The gain structure in most of the files the recordings were clipped in quite a few places. With the modern day 24 bit digital recording there is no need to set the gain any higher then half way up the scale around -6 to -9. Most of the tracks were running far too hot in fact the meters’ were on full, When using EQ or compression try to attenuate the gain of the output to match that of the input. Another common mistakes is the heavy EQ and compression on every track. EQ and compression works best sparingly. The best use of EQ is to filter out the unwanted lower frequencies and a few DB cut or boost should be plenty. Too much use of EQ and compression makes it harder to mix as it eats up sonic space In most of the DAW’s the native reverb is mediocre so best used sparingly or use the CPU hungry convolution instead. One last word If you are paying someone for a recording have a listen to their other work first and also try to negotiate to get the files beforehand as this can cause a lot of bad felling afterwards

Great Thank you

[quote name='J.R.Bass' post='1057601' date='Dec 13 2010, 06:16 PM']Mac ---> shift + alt + 1 PC ---> shift + alt + P Or the longer way/more options, [/quote] Thank You

Some manufactures ramp all the volume at the front of the pot so people think it’s louder.

[quote name='J.R.Bass' post='1057532' date='Dec 13 2010, 05:18 PM']I've not really got enough experience on both pieces of software to give a fully valid opinion. I've been using sibelius for about 6/7 years and find it incredibly easy to use. I used Finale for about 2 years, just over a year ago, and personally found it quite amateurish compared to sibelius, and it seemed to take me longer to do what i wanted to do. But that could be down to being so use to sibelius. From what i've read online, it normally comes down to what your using the software for. If you planning on writing scores and concentrating on playback using virtual instruments & all that side of it, afaik Finale has better routing options. If its simply to write, print & save a digital copy, i'd recommend Sibelius. I hope that makes sense [/quote] How do you do the x for mute notes in Sibelius?

[quote name='Lozz196' post='1056469' date='Dec 12 2010, 08:28 PM']Yeah, its personal preference that`s the issue here. That dreaded word that bassplayers fear, definition, cropped up a lot. In other words, no bass, no low mids, and bucketloads of treble. The actual recording of the whole don`t sound bad to be honest, tho the bass sounds much more like a Jazz than a Precision to me. It`s just the disregard for what I bring to the band that has annoyed me, tho as the end product sounds good, I`ve not made it an issue in the band, and won`t. I was just interested, seeing this thread, if other people have had this, where not only was their gear not used, but the finished sound ended up not being like them either. Maybe a session guy was hiding behind the curtains, and I was only hired for my looks [/quote] Sometimes the problem is when you get a player who stands a couple of feet away from a large stack at rehearsals and gigs so they get a great powerful sound but it takes up all the sonic space and doesn’t work within a mix. This is what might have happened to you once the guitarist has got the obligatory large drum sound and of course a big guitar sound there is just no room left for the bass. This is why musicians and engineers clash sometimes you have to thin out sounds to make the whole sound large

[quote name='Lozz196' post='1056312' date='Dec 12 2010, 06:49 PM']I understand that - JJ Burnell from The Stranglers for example, his sound is integral to the sound of the band, so the right amount of time needs to be taken to ensure it is accurately recorded. My point really was, why, when you have a certain "type" of sound, would someone not try and even come close, but make your recording sound completely different to the sound you regularly use (assuming it isn`t a dreadful sound that is). Example, if someone uses a Status/Trace Elliot type sound, why deliberately ensure that the recorded sound of the bass sounds nothing like that? Surely, whilst in the time available it may not be possible to replicate it exactly with amp modelling, why should that bassist have to put up with sounding like a Precision through an Ampeg?[/quote] I can understand using an amp simulator as the bass in a live recording can bleed on to all the other tracks but why he doesn’t use a sound similar to the one you use i dont know, I can only assume he thinks his sound is better. If the recording sounds good then maybe you could learn from it, why not ask him to do a version with a sound similar to yours then compare.

Let me explain further, some players a special with a unique sound that is an important part or the band sound and an engineer can recognise these people so it is worth the time and effort to capture their sound. Some players are just focused on the sound of individual instruments and there sound.

Time constraints and budget are the obvious ones to think about but my main concerns when people are precious about their sound is how well it works as part of the mix often it doesn’t because the players listen to their sound and not the bands. When you are working with people for a short space of time you can’t hurt their feelings or have a heated debate by saying the sound doesn’t work. Do your home work and go to a studio whose work you like then trust then trust them. What’s worse a bass sound that’s not what you have in rehearsals or a bad recording?

I Like it sounds good full marks

As above is good advice. But there is not a one stop solution you need to experiment. If you cab has a high frequency driver you will need to take that in to account I sometimes I place a kick drum mic in the port. But one microphone in the right place is worth a dozen in the wrong place

I don’t have a problem with Tabs, but my experience is that most are wrong, where as it is opposite can be said with written parts. It seems that people who can score have better ears.

If the gig is important to you get someone in who know what they are doing you may be out of pocket but not as much as the loss of future work. A lot of the time corporate/ hotel gigs you have to stay within a sensible volume and you need a more polite mix than you would in a pub, depends on the band and the venue of course. Studio engineering and live is two different animals and thinking a studio engineer can do both without experience is like a guitarist playing bass. If it just a fun gig then have a go yourself but have a PA rehearsal and get the engineer to come along

[quote name='stingrayPete1977' post='1015683' date='Nov 7 2010, 08:39 PM']The guitarist in our band can play for hours on end without repeating a phrase and in different styles and scales etc and has no idea what they are called he just does it. There are plenty of folk sticking their tongue out on this forum because he isnt a reader but trust me when I say he would have planty of them licked in most situations other than a formal sight reading pit job which I can assure you he would hate with a passion. So what does all this mean? Are the readers saying he cant play the guitar? His name is Matt Thorpe (Comes up on Google) if any readers want to have a listen and tell me they can automatically outplay him just because they have theory nailed. [/quote] On a reading gig he couldn't play one, If he could read he could play for days without repeating a phrase with a enough music,

My 2p worth Sometimes I think people want reassurance that it’s ok not to read or know ant theory but the only people who seem to think it’s a bad idea not to have any theory are the ones without it. Most people know theory they know what notes fit over a chord they know the names We all have a different skill set if yours is fit for purpose then that is ok. IIMHO the reason why people knock reading bands is if the parts are a bit tricky then you can lose some feel just like most people do when leaning a new song, you concentrate on getting the notes and timing first.

Yes I also play chords using harmonics.

What do you mean by satellite mode? Are all the speaker cones working? But it sounds like they are If my memory is correct the Actors are 3 cabs a side, active bin, a passive bin and a mid top active box, I beleave the crossover for the subs is in the bin itself not 100% sure though. Is the mid top cab ok without going through the Subs? You could take the amps out and check for any loose connections and blown fuses anything other than that use a qualified engineer. It also could be the crossover.