BigRedX

Which means that at some point the band will need to do a full technical rehearsal with all the equipment including the PA that they intend to use at gigs so you can definitely see if there are any problems.

I would think that anyone who learnt piano when they were young would have been at least partially funded by their school, and of course piano lessons and books were a lot cheaper in previous years. In the 70s, my sister who is completely and utterly tone deaf progressed as far through the grades as was possible until her inability to sing or distinguish the pitches of notes counted against her more than her ability to press the right keys at the right time according to the score place in front of her. Our piano at home which was inherited from a relative had several notes seriously out of tune with themselves including at least one that was seemingly in every piece she learnt to play, and which made it painful listening for the more musically inclined members of the family. I'm pretty sure my parents wouldn't have encouraged her as much as they did if it had been costing them any serious money, and if they had the cash then employing a piano tuner would have been a better use for it.

If I'm not mistaken it's a LaFey Remington Steele with a stainless steel fingerboard. Vigier have made fretless basses with metal fingerboards too.

I find that when we come to record the songs I'll often simplify down my bass lines as some of the runs and fills get in the way of the vocals which after all are the most important thing to the average listener.

The synth player in my band mixes all our recordings on a pair of KRK Rokit speakers which allow him to get some excellent sounding mixes and which to me seem reasonably small - although my last set of studio monitors were Tannoy Gold 10" dual-concentrics so my idea of sizes might be a bit skewed. As I said in the recent headphones thread, the most important thing about whatever speakers you choose is that you spend a serious amount of time listening to recordings you know and like through them so you get to know their strengths and weaknesses and then can use them to make objective decisions about your own recordings.

Thank you. As I said in a previous post I don't own the fretless any more, partly because I no longer play 4-string basses (the basses I'm currently playing are all 5-string or Bass VIs) and partly because fretless doesn't suit the current musical path that I am following. It was a great instrument to play, but I struggled to get the sorts of fretless sounds I wanted out of it which was mostly Japan-era Mick Karn. All three of the other high-end fretless basses I owned at the same time - Overwater Original, Pedulla Buzz and Sei Flamboyant were much more suitable for that. Having said that it did get used at quite a few gigs and made it on to a couple of recordings that have been released. I believe the current owner has strung it with flat-wound strings which suit the bass better. I still own the two fretted Gus basses because they are the perfect instruments for me in terms of playability, sounds and looks. I also have a Gus G1 guitar. I couldn't see myself selling any of them. If I found myself needing a fretless bass in the future I'd be looking for a Pedulla Pentabuzz.

Complete and release my band's album. We have 4 songs finished, another 4 that are currently in the process of being mixed and 5 more that still need vocals recording and then mixing, plus one instrumental that needs a bit of additional production. That's almost 60 minutes worth of music. However once we've got over 40 minutes complete which means getting the vocals recorded for 2 of the songs that currently don't have them, then we'll probably release those and save the rest for the next album which hopefully won't take another four years to complete!

Thanks! Here's a photo of all three in a much more conventional setting:

Unless you have vast amounts of money to spend on studio reference speakers and serious acoustic treatment for your control room, the best thing to do is to pick a set of speakers and headphone and spend a couple of months listening to your favourite music on them so that you know how they sound. Then you'll be able to use them to make proper evaluations of your own recordings.

Just like speakers there is no right answer when it comes to evaluating headphones. However for critical listening when mixing speakers and headphones that make everything sound good tend to be of less objective use.

The first photo is of a Born 2 Rock F4B bass guitar. The second photo is a Gus G3 4-string fretless bass. I no longer own either bass but I still have my two Gus G3 5-string fretted basses which are my main basses when I'm not playing Bass VIs.

IMO Nottingham has an undeserved less than good reputation. However looking back at the the second photo I should have spent I bit more time Photoshopping out all the fag ends on the ground.

Or it's someone who thinks they can re-sell it for more money if they include delivery.

There are all sorts of tribute bands ranging from those that are the closest you'll ever get to the "real thing" without actually going to see the "real thing", and at the other end covers bands who just play songs by a single artist. To the OP. IMO you need to be a lot more specific about the sort of tribute band you'd like to be in and why. As others have said lots of tribute bands are formed by musicians who are massive fans of the act they are a tribute to, and someone who doesn't appear to be as enthusiastic about the music may not be the sort of musician they are looking for to complete the line-up. At the moment to being "open-minded, just nothing too heavy" tends to make you come across as being somewhat unfocused musically. With the right connections you might get a one-off dep when the band are desperate, but you'll need to be a lot more specific if you want a permanent band place. Also if you want to get into a band who are more than just covers band who only do one artist, you will probably be expected to look the part, at least as far as having the right clothes, haircut, makeup (if applicable) and instrument. Are you prepared to do that?

I had quite a complex MIDI set-up in the 90s which was used both in the studio and live, but it was all controlled via a dedicated 8-port MIDI interface which avoided the need to use MIDI-thru chains and meant if one device was acting up it wouldn't affect any of the others. However this was in the days when MIDI connections were all 5-pin DIN so you only had to worry about one protocol for connecting everything. IMO the introduction of MIDI over USB is fine a couple of input devices connected directly to a computer, but makes pretty much everything else unnecessarily complicated, added to which USB connections simply aren't robust enough for gigging use.

I can see the advantage of using the UMC1820 as a single device for all the audio inputs and outputs. However for MIDI control of the Roland surely it would be easiest to just use the USB connection direct to the computer?

Yes, but if you looked at the photos in the OP, you'll see that the body is a two piece sandwich with each "slice" being in two halves, and at least one of the joins appears to bisect the recess for the neck joint. That means reassembly will have to be accurate to less than 1mm in order for the rest of the parts to fit properly without additional sanding and routing. Personally I wouldn't risk it and I wouldn't recommend that the OP risk it either.

I currently play in a post-punk/goth/synth-pop influenced band and so the chorus is quite prominent in the effects mix. However I've always had some chorus on my bass sound from when I bought my first chorus pedal in 1983. I was using it with my 90s dance-rock band, the blues/pop band I was with during the 2000s and even playing psychobilly with Dick Venom.

The Helix will allow the control of each parameter in a Preset to be attached to one of three expression pedals, or one of 11 footswitches, or any MIDI CC between 4 and 127. It also allows the value of parameters to change with each Snapshot in the Preset, which is how Line6 do glitch-less sound changes. And it is possible to control parameter values using the volume and tone controls of a Line6 Variax guitar. It won't allow parameter control to be based on the sound of the instrument which I think is what @MrDinsdale is saying. For me this wouldn't be of much use because I don't play in any sort of controlled way and having the sound change due to how hard or soft I'm playing would be a complete non-starter. I'm sure it sounds great on the factory sounds that use it, but I wouldn't be able to play accurately enough to control it. What would be useful to me would be if the triggering of the noise gate and filters could be controlled by MIDI note information instead of the incoming audio signal. Can you do this with the GT1000? The other thing I would find useful would be the ability to have time-based effects synchronised to MIDI clock for periods longer than 1 bar, particularly phasers and flangers

Back in 2011 one of the guitar blogs at the time was asking for photos for a page a month calendar with a free calendar for those whose photos were chosen. I got up very early one August morning and went into Nottingham city centre, when it was just light but hardly anyone was about, to take these two (amongst many others) which were selected:

For me it's the note choices and combinations more than anything. Although a decent amount of chorus also helps.

Good luck with trying to accurately glue together 4 pieces of wood with no straight edges on the non-glue surfaces. I wouldn't want to do that.

That's weird. The way you had worded your previous post suggested that you didn't like the body shape.

Why do you need to connect the Roland Piano to the Behringer interface via MIDI? surely the best thing is to connect the Roland direct to your computer using the USB sockets on each or have I missed something?

If you don’t like the body shape as well as the colour how about getting a new body made to fit the rest of the hardware?