ambient

I believe so, best to ask an accountant, I think you're allowed so much a year. I claimed my MMus fees that I was paying myself two years ago. I claim travelling, and expenses associated with releasing my music etc.

It’s like the clothes you buy in primark or the fact that milk is so cheap. Someone somewhere is taking the hit for it. It’s got to be built, the parts all have to be made and shipped. It’s then shipped all the way across the world to the distributor, then to the shop. Each intermediary is putting their profit onto it. It’s undoubtedly the fact that mass production techniques have improved too, but I’m guessing that the workforce where it’s made aren’t paid very much.

I read a book years ago that someone gave me, possibly this one. https://www.goodreads.com/book/show/937168.Hendrix I'm not a particular fan, but found the insight into the recordings and production fascinating.

I tend to use a Macbook live anyway. Not Max no, I really dislike that . More like time stretch in Logic Pro. I was looking sat the Akai MPC studio, or Korg Volca. The YouTube videos put me off those though, they seem obsessed with making beats.

Plunderphonics, it's even got a name.

Headphones, if you're working on a track or something, then import that into a DAW. I used to have problems with my neighbour, very similar to your's because my neighbour is annoying and used to have screaming arguments with her daughter. I now have my studio on the other side of the house above the garage on the opposite side of the house to the party wall. I don't use an amp unless I'm teaching, I use my monitors or headphones. I'm often working on pieces that I'm writing until 3 or 4am, nobody notices, not even my parents. It's very easy for these things to get out of hand, and the noisiest neighbours are often the first to complain.

Time maybe for a new patio?

Not really effects this I guess, but I wasn't sure where else to put this. Some expert advice please. I want to start using field recordings and sounds in with my live solo bass set. I want it to be more than just playing along to a back track on my MacBook though. I really want to be able to start the sound, and manipulate it live, so the piece evolves. Then add loops of bass and other sounds on top. What I need advice about is the hardware needed to do this. Most of what I've seen so far during my research seems to be designed to create beats live, which isn't what I want at all.

Spread it about on Facebook too.

Playing with Miles Davis at was he 18?

https://www.theguardian.com/music/2018/jan/10/radiohead-rebut-lana-del-rey-get-free-plagiarism-lawsuit-claims

How do you have the EQ set? Mids are your friend.

Not to everyone's taste I know, but it's actually sold quite well, which is nice. My very first cassette based album, and the very first release on a new label. The music was all recorded to cassette tape and cassette tape loops which gives a very distinctive lo-fi vibe to the music, and then recorded from there into Logic Pro where it was painstakingly assembled like a rather large sonic jigsaw puzzle. The cassette was professionally duplicated and printed, and comes with bonus recorded material, and includes original artwork that was again, professionally printed. It's also available on a digital download for those living in the 21st century . https://quietestrecords.bandcamp.com/album/the-tape-works-pt1

Walk on the wild side with it 3 beat sustained note.

Good sustain would also be useful if you're covering a line that was originally played on a synth. I remember having to play a Massive attack song at uni that had whole notes in each bar. I played it on fretless. Birdland is another that springs to mind, and another I had to play at uni, (not surprising my anxiety problem resurfaced then ). Not songs that you get asked to play every day, but if you hit an open E in a song expecting it to ring out and it dies after half a bar?

Exactly, fretless is where sustain really comes to the fore. Watch a good fretless player using a nice rocking side-to-side vibrato technique to try and squeeze every last bit of sustain out of the note.

It depends on the music. I use an ebow to achieve sustain.

I guess that Radiohead’s outlook is that by accepting 40%, then they’re setting a precedent if this should ever occur again.