skankdelvar

Hi Dan and to the forum.

They can't do the unlimited TLRT's because software but getting people banned has cost me between £200 and a sausage roll depending on which admin you tap up and how they're feeling.

Yo, 'shell. Administration Tariff £25 - account recovery £50 - username change £75 - getting someone else put on posting approval Enquire within for 'specials' - no job too big, no job too small.

Depending on what the song needs I play with fingers or a pick unless it's a bit fast in which case I have to use a pick and what the song needs can bugger off.

Excessive tuners in Precision

Sorry to hear your news. Best wishes to your wife and your Dad.

The absence of sheds, rice boilers and lingerie is a grievous disappointment.

Woodstock During the Who's performance at Woodstock the celebrated hippie activist Abbie Hoffman invades the stage between songs and grabs Townshend's vocal mike to issue a call for protest : Hoffman angrily: I think this is a pile of sh_t! While John Sinclair rots in prison... Townshend: F__k off! (Hits Hoffman with his guitar, toppling the activist into the audience) Townshend: F__k off my f__king stage! (Crowd roars approval ) Townshend (sarcastically): I can dig it.

£500 and your problem permanently removed. Ask me how.

My new favourite band. Kudos, Tom

Work out the average age of your target audience. For the sake of argument let's say it's 35. When would they have been 20? That would be 15 years ago = 2006 Go to one of the singles chart websites and look up the chart hits for a couple of years either side of 2006, so 2004-2008. Make a note of the big hits that fit the description 'female fronted / guitars'. There's your candidate song list.

If you're interested in merely converting a guitar performance to MIDI without converter hardware then you could try Jam Origin's Midi Guitar 2 plug in. Arm and monitor your track, strap the plug-in across the recording input FX, put a VSTi in your track effects... er, that's it, apart from setting up the velocity sensitivities, noise gate etc. Yes, it's fairly CPU intensive and there are as always false triggering issues if one's playing isn't pristine but it's easy enough to edit the performance afterwards On the free trial version there's a two minute window until it mutes and you have to re-set it. Which is a bit of a pain when setting up but long enough for quick recordings (taps side of nose). I used it this way for the piano and sax on my last Comp Challenge entry and it was fairly convincing when set up for touch sensitivity for bends, etc. Midi Guitar 2 was £80 until recently but the price has just shot up to about £109. Wish I'd moved earlier so it's back to the two-minute tango for me

Mr Bill Wyman is four years older than Charlie and might therefore resist the view that the Stones should croak in order of age.

It might be of no greater significance than that you are simply enjoying the sound of a different bass tone. Enjoy

One blues-rock band I was in, the guitarist was so good I'd work with him again in a flash even though he was an average singer and an utter bastard. The only big-ish problem was getting him to try new material he hadn't himself suggested.

Terrible news. MB1 will be sadly missed. My condolences to his family.

TBPH, if it's Blues Rock then I'd rather work with an arrogant but red-hot guitarist / singer who overplayed a bit than with a nice guy who lacks the necessary chops. It isn't like it's a flat-share. There are methods both psychological and musical to mitigate a guitar hero's excesses but you can't manage talent into someone if it ain't there. OTOH, if they're obviously arrogant, they overplay and they're incompetent then you don't hire them in the first place.

Possibly because I am best known for talking complete bollocks

Couple of things: Part the first Mr Mick Fleetwood and Mr John McVie might gently disagree. It's their names on the band and, really, everyone else is just passing through. Where you are at this stage, it's a matter of perspective: if you pitch yourselves as just two guys that's how you'll be seen. As of today you are a rhythm section. I mean, you've actually got a drummer, the lack of which is the thing that sinks most start-ups. No guitarist of any quality or experience will look askance at the opportunity of picking up (as he might see it) a bass player and drummer in one fell swoop. Anyone silly enough not to take you seriously is one less numpty to audition. Put some swagger in your stride, Sir. You two are the Mick and John, the Sly and Robbie, the Bill and Charlie of Branksome Chine. Part the second Halve your personnel issues by finding a guitarist who sings (as opposed to a singer who plays guitar). OK, guitarists who sing may throw solos in at will and mumble the words they haven't learned but that's better than a pitch-perfect singer chopping out cowboy chords. Also, it's so much easier to do Blues as a three-piece (unless you really must have keys and a brass section) and you'll each get 33% more money than if you have to split it with a singer. Blueprint Take confidence in your general desirability. Scour the online and real world ads. Audition guitarists who claim they can sing. Don't worry if they look a bit dodgy on paper - try out as many as you can so that you and drummer can work together. Eventually you'll find some that are half-decent then get them back in. Also, tout yourselves round the blues jams as a working rhythm section. That might flush out some talent. It will take time. Let time be your friend.

Absolutely correct. Here's a list of the plug-ins that come bundled with Reaper. They don't have beautiful GUI's and they're fairly neutral in flavour but the one's I've used have performed basic tasks to a satisfactory degree of adequacy. Apart from the bundled VST's listed below there is also a wealth of community scripts lurking in the so-called Reaper Stash including a nice little EQ matcher and a track alignment tool that scans tracks, inserts time markers into phrases and pulls them into line with a 'master'. Very useful and free. Cockos ReaComp - Compressor plugin ReaDelay - A Delay ReaEQ - Fast, configurable unlimited band EQ plugin ReaFIR - Equalizer/analyzer plugin ReaGate - Gate plugin ReaInsert - Bring hardware into a track as a plugin ReaMidi - Midi tool ReaPitch - Alter the pitch of audio ReaTune - Tuner plugin ReaVerb - Reverb plugin ReaVerbate - Reverb plugin ReaVocode - A Vocoder ReaVoice - MIDI Controlled, Multi-voice pitch shifter ReaSamplomatic 5000 - Sample machine plugin ReaSurround - new v4 ReaStream - ReaSynth - Simple VSTi synthesizer ReaSynDr - Simple VSTi drum machine ReaXcomp - Compressor plugin Effects written by various people and implemented using the Jesusonic, or JS system. Analysis JS: Analysis/compscope JS: Analysis/compscope_src JS: Analysis/fft_noise_generator JS: Analysis/gfxanalyzer JS: Analysis/gfxscope JS: Analysis/gfxspectrograph JS: Analysis/spectropaint JS: Analysis/zoomanalyzer Delays JS: Delay/delay JS: Delay/delay_chfun JS: Delay/delay_chorus JS: Delay/delay_lowres JS: Delay/delay_sustain JS: Delay/delay_tone JS: Delay/delay_varlen JS: Delay/fft-delay JS: Delay/scratchy JS: Delay/time_adjustment Filters JS: Filters/autopeakfilter JS: Filters/bandpass JS: Filters/dc_remove JS: Filters/ftf-filter JS: Filters/FIR_8 JS: Filters/lowpass JS: Filters/mdct-filter JS: Filters/mdct-volsweep JS: Filters/parametric_eq JS: Filters/spectro_filter_paint JS: Filters/sweeping_lowpass Guitar JS: Guitar/amp-model JS: Guitar/amp-model-dual JS: Guitar/chorus JS: Guitar/distort-fuzz JS: Guitar/distortion JS: Guitar/flanger JS: Guitar/phaser JS: Guitar/tremolo JS: Guitar/wah IX JS: IX/MIDI_CCRider JS: IX/MIDI_DuplicateFilter JS: IX/MIDI_KeyMap JS: IX/MIDI_KeySnap JS: IX/MIDI_Router JS: IX/MIDI_Tool JS: IX/MIDI_Tool II JS: IX/MIDI_Variant JS: IX/MIDI_Velocifier II JS: IX/MIDI_Wobulator JS: IX/Mixer_8xM-1xS JS: IX/Mixer_8xS-1xS JS: IX/PhaseAdjustingRouter JS: IX/StereoPhaseInvert JS: IX/Switcher JS: IX/Switcher2 JS: IX/SwixMitch Liteon JS: Liteon/3bandpeakfilter JS: Liteon/applefilter12db JS: Liteon/applefilter72db JS: Liteon/bassmanager JS: Liteon/butterworth24db JS: Liteon/cheby24db JS: Liteon/deesser JS: Liteon/lorenzattractor JS: Liteon/moog24db JS: Liteon/nonlinear JS: Liteon/np1136peaklimiter JS: Liteon/pinknoisegen JS: Liteon/presenceeq JS: Liteon/pseudostereo JS: Liteon/rbjstereofilter12db JS: Liteon/ringmodulator JS: Liteon/shelvingfilter JS: Liteon/simplelp6db JS: Liteon/statevariable JS: Liteon/tilteq JS: Liteon/vumetergfx JS: Liteon/vumetergfxsum JS: Liteon/waveshapermulti LoopSamplers JS: LoopSamplers/autoloop JS: LoopSamplers/loopsampler-granul JS: LoopSamplers/loopsampler-m2 LOSER JS: LOSER/3BandEQ JS: LOSER/3BandJoiner JS: LOSER/3BandSplitter JS: LOSER/4BandEQ JS: LOSER/4BandJoiner JS: LOSER/4BandSplitter JS: LOSER/50HzKicker JS: LOSER/5BandJoiner JS: LOSER/5BandSplitter JS: LOSER/amplitudeModulator JS: LOSER/CenterCanceler JS: LOSER/Compciter JS: LOSER/DDC JS: LOSER/DVC2JS JS: LOSER/DVCJS JS: LOSER/Exciter JS: LOSER/gfxGoniometer JS: LOSER/gmemReceive JS: LOSER/gmemSend JS: LOSER/masterLimiter JS: LOSER/MGA_JSLimiter JS: LOSER/MGA_JSLimiterST JS: LOSER/MIDI_EQ_Ducker JS: LOSER/phaseMeter JS: LOSER/ppp JS: LOSER/Saturation JS: LOSER/SP1LimiterJS JS: LOSER/stereo JS: LOSER/stereoEnhancer JS: LOSER/StereoField JS: LOSER/TimeDelayer JS: LOSER/timeDifferencePan JS: LOSER/transhape JS: LOSER/TransientController JS: LOSER/TransientKiller JS: LOSER/UpwardExpander JS: LOSER/waveShapingDstr JS: LOSER/WhiteNoise JS: LOSER/ZeroCrossingMaximizer Meters JS: Meters/dynamics_meter JS: Meters/tonemeter JS: Meters/tuner JS: Meters/vumeter MIDI JS: MIDI/drumtrigger JS: MIDI/midinoteondelay JS: MIDI/midi_arp JS: MIDI/midi_CC_mapper JS: MIDI/midi_chorderizer JS: MIDI/midi_chordkey JS: MIDI/midi_eater JS: MIDI/midi_logger JS: MIDI/midi_maptokey JS: MIDI/midi_note2channel JS: MIDI/midi_note_filter JS: MIDI/midi_note_repeater JS: MIDI/midi_transpose JS: MIDI/midi_velocitycontrol JS: MIDI/program_bank_onload JS: MIDI/sequencer_baby Pitch JS: Pitch/fft-ps JS: Pitch/mdct-shift JS: Pitch/octavedown JS: Pitch/octaveup JS: Pitch/pitch2 JS: Pitch/pitchdown JS: Pitch/superpitch remaincalm_org JS: remaincalm_org/avocado_glitch JS: remaincalm_org/floaty_delay JS: remaincalm_org/tonegate schwa JS: schwa/audio_statistics JS: schwa/fft_splitter JS: schwa/gaussian_noise_generator JS: schwa/midi_examine JS: schwa/midi_humanizer JS: schwa/midi_modal_randomness JS: schwa/soft_clipper SStillwell JS: SStillwell/1175 JS: SStillwell/3x3 JS: SStillwell/3x3_6dbSlope JS: SStillwell/4x4 JS: SStillwell/autoexpand JS: SStillwell/badbussmojo JS: SStillwell/badbussmojo_aa JS: SStillwell/chorus JS: SStillwell/chorus_stereo JS: SStillwell/delay_pong JS: SStillwell/delay_tempo JS: SStillwell/dirtsqueeze JS: SStillwell/drumtrigger JS: SStillwell/eventhorizon JS: SStillwell/eventhorizon2 JS: SStillwell/exciter JS: SStillwell/expander JS: SStillwell/expressbus JS: SStillwell/fairlychildish JS: SStillwell/fairlychildish2 JS: SStillwell/flangebaby JS: SStillwell/hpflpf JS: SStillwell/hugebooty JS: SStillwell/louderizer JS: SStillwell/louderizer_lpf JS: SStillwell/majortom JS: SStillwell/mastertom JS: SStillwell/ozzifier JS: SStillwell/randomizer JS: SStillwell/rbj1073 JS: SStillwell/rbj4eq JS: SStillwell/rbj7eq JS: SStillwell/realoud JS: SStillwell/realoud_lpf JS: SStillwell/stereowidth JS: SStillwell/thunderkick JS: SStillwell/volscale JS: SStillwell/width Synthesis JS: Synthesis/midi_drumseq JS: Synthesis/sine_sweep JS: Synthesis/tonegenerator Teej JS: Teej/rbj12eq-teej JS: Teej/rbj4eq-teej JS: Teej/rbj4notch-teej Till JS: Till/Auto-Wideness v1.0 JS: Till/Transient-driven Auto-Pan v1.0 (Master) JS: Till/Transient-driven Auto-Pan v1.0 (Slave) JS: Till/Transient-driven Auto-Pan v1.1 (Master) JS: Till/Transient-driven Auto-Pan v1.1 (Slave) Utility JS: Utility/bufsave JS: Utility/chanmix2 JS: Utility/channelmixer JS: Utility/dither_psycho JS: Utility/KanakaMS5 JS: Utility/KanakaMSEncoder1 JS: Utility/limiter JS: Utility/phase_adjust JS: Utility/smpte_ltc_reader JS: Utility/vca_master JS: Utility/vca_slave JS: Utility/volume JS: Utility/volume_pan waveshapers JS: waveshapers/graphdist JS: waveshapers/graphdist-dyn

Couple of things: * It's only to be expected that musicians working in rock and pop might feel uneasy at the prospect of hitting thirty. For one thing, we live in a society which widely venerates youth and beauty, and beautiful youth. Pop music and its deriving genres amplify this societal foolishness but one can't get away from the sad fact that a pretty face sells product. Next up, the characteristics associated with hormone-drenched youth - impulsiveness, wild emotional swings, excessive focus on the 'now', idealism, a consuming desire for friendship and lurve - look a bit odd (if not sinister) when exhibited by someone over thirty. Then there's the commercial aspect. It's much easier for a record company or manager to slit a bunch of kids up like a kipper compared to a bunch of wary, older types (though not always). So, signing young people and throwing them away when they get older is a music industry thing. Point of comparison: the vibrant and highly profitable South Korean music industry makes ours look like a playgroup run by social workers. The Korean pop moguls sign 14 year-old kids off the street for their looks, formally train them in pop music and image, put them on a salary, squeeze the life out of them for a few years then dump them at 21 or 22 years-old for being geriatric. * The confining nature of pop music (repetitious songwriting, simplistic musical formulas, trite melodies, stale harmonies) means that if you're any good with your voice or your instrument you'll have reached the industry standard fairly early on in your career and no one will encourage you to go any further. You might be bored mindless but nobody will let you make the Jazz album or write the string quartet or even slightly subvert the audience's expectations by dallying with another pop genre. That's why Anthrax had to shelve the Reggae album. Of course, in musical forms other than pop we find that performers and composers are more free to experiment and to develop as musicians and artists than are pop stars; the walls of the pop 'cage' fall away. Likewise age is far less of an impediment. Indeed, in Folk, Classical, Jazz (and even some supposedly 'rock' genres like Blues) age is a draw rather than a turn-off. When a celebrated violinist takes the stage at the age of 84 no one cries 'Where's your stick, Grandad?' or comments unfavourably upon his wrinkled hands. OK, some critics might bimble on about 'missing the fire of youth' but critics are ar5eholes. TLDR: Pop's a game for young people, no getting round it. Other genres of music offer the aspiring musician a longer shelf-life.

Swoons with envy at home studio. to the forum SailCat - enjoy the voyage!

FWIW I'm currently running the latest version of Reaper (R6) on an 11 year-old 32-bit W7 PC with a 2.4 Ghz processor and 4Gb memory. So, pretty basic, but it works OK. Things occasionally get a bit sticky if I've got more than 10 tracks and I'm running shed loads of plug-ins on all of them but there are workarounds like freezing or rendering tracks, and bunging multiple tracks into a sub-project to get them out of the main project while still being able to hear their combined output. As ever, I recommend checking out Kenny Gioia's Reaper Mania channel on YT. He's a god-send.

Hi Ross and to the forum.