Earbrass

[url="http://www.youtube.com/watch?v=i2iq4IIZdWU"]http://www.youtube.com/watch?v=i2iq4IIZdWU[/url]

http://www.youtube.com/watch?v=F1b27494nx4&list=PLt8BPUgwrWW5lrfBNk-jwqZxngKkQ-Ce9

[quote name='MiltyG565' timestamp='1404577897' post='2493896'] ... but he does it in such a good way, that it sounds really good... [/quote] So let me see if I've grasped this....what you're saying is that to sound "really good", you have to play "in a good way" (or "well" as we say in English). Wow, man, that is deep.

[quote name='Dingus' timestamp='1404732729' post='2495108'] the perception of Motown was that it was rather formulaic and trite throwaway pop music. That view was quite wrong, of course, as we all now realize, [/quote] In your opinion - still formulaic and trite throwaway pop music as far as I'm concerned - and that goes for ABBA too.

Martha and the Muffins! http://www.youtube.com/watch?v=VrPDp8VTkBk

[quote name='Bilbo' timestamp='1403173051' post='2480416'] I guess the lesson is to do the thing properly, to begin and end things musically, to record real instruments when you can (not programme naff VSTs) and FINISH THE DAMN JOB!! [/quote] I would draw a different lesson, which is that recordings are made to perform a variety of functions, and that what is perfectly ok for one purpose may be inadequate for another. If it's just to demo a new tune to your bandmates then it makes sense to use virtual instruments and not worry too much about tidy beginnings and endings and the rest. If it's for a client, then what matters is to take the pragmatic view of whether it does the job they want it to do, not whether it's a musical creation you are going to feel entirely happy with and proud of. If it's for your forthcoming solo album, then by all means lavish endless time and care on it. Not every recording has to be a fully finished work of art. From your post it seems that your frustration with your recordings arises because you wanted to use them for a different purpose from the one for which you originally made them.

...Upon a cross of MDF And they’d use No Need For Nails" (Upon Westminster Bridge -Half Man Half Biscuit) "I assume you understand that we have options on your time, And will ditch you in the harbour if we must...."

[quote name='fretmeister' timestamp='1390301147' post='2343662'] [font=Arial, Verdana][size=2][color=#000000]And the other side of the story that says there is NO risk of closure and the residents (some of them been there for a decade) merely want the volume turned down to its previous levels...[/color][/size][/font] [color=#000000][font=Arial, Verdana][size=2][url="http://www.manchesterconfidential.co.uk/News/Night-And-Day-The-Other-Side"]http://www.mancheste...-The-Other-Side[/url][/size][/font][/color] [/quote] Thanks for posting. I rather suspected all was not as had been presented. My sympathies are with the residents.

[quote name='Beedster' timestamp='1389649729' post='2336643'] There's some logic there but in music terms I still prefer the '70s to the '80s and the '60s. I think I'd rank the '70s and '90s about equal. [/quote] I'd have to go for a "split" decade - 1965 -1975. If I had to narrow it to 5 years, I'd go for 1968-1973. For me the early sixties are mostly dull "pop" groups in matching suits, and punk nullified the late 70's as far as I'm concerned. The good bit started when the drugs and long hair took hold, and ended when the talentless shouty oiks took over. Your mileage may, of course, vary.

[quote name='Dad3353' timestamp='1389565494' post='2335666'] Things could be so much nicer for so many billions on the planet today, but the 'few' won't relinquish, so it will just remain a dream. It explains, partially at least, my healthy dose of cynicism, though. Never mind... [/quote] You [b]are[/b] one of the few. Relinquish away.

[quote name='Dad3353' timestamp='1389374465' post='2333581'] I'd have less of a problem with this if I could understand what reasoning allows one person's hour's work (ie: part of their life, gone...) to be 'worth' more than another's. [/quote] The "reasoning" is done by the consumer of the product of the person's work - how much is it worth to them? Some people will produce nothing worthwhile with their hour's work, while others will produce something a lot of people want. In general, one isn't paid for one's time but for what that time produces.

Without the sound it reminded me of the Ministry of Silly Walks.

I play a few instruments and am no longer playing bass in any bands. These days I'm getting my gigging and music-as-social-activity fix from playing squeezebox for border morris, so bass playing is restricted to noodling for fun and adding bass parts to my own recordings. I don't own a bass amp any more, and either use a pre-amp pedal or software amp sim for recording (or sometimes just pure DI).

[quote name='SteveK' timestamp='1389281150' post='2332309'] No! Of course, a producer [i]can[/i] claim a writing credit and receive the fee/points that are negotiated. But a producer can also negotiate points solely as a producer. [/quote] I was referring to PRS type royalties - you have to be a writer or publisher to get those.

[quote name='SteveK' timestamp='1389271238' post='2332118'] But that's not true! Just one example (prompted by the revived thread), but by no means unusual: The Frankies "Two Tribes". It could (to my mind) have been "dead in the water" without the wizadry of Trevor Horn. Of course, I don't know what deal was done, but I'd bet my garden shed that, in terms of royalties, he did just as well (if not better) than the individual band members. IME successful producers, arrangers etc, have a very good idea of their worth. [/quote] But isn't the point that in order to get that share of the royalties they have to get themselves named as co-[i]writers[/i], not just producers, arrangers etc?

[quote name='skidder652003' timestamp='1388652507' post='2324309'] A good quality instrument always feels and sounds better to actually play and gives you one thing less to get stressed out about on stage [/quote] In my experience an expensive instrument does not always feel or sound better than a budget one - and the expensive one gives you one more thing to get stressed out about before and after the gig.

I have the later K-Station keyboard - an excellent little 3 oscillator synth. It came with probably the best manual I've ever had for a piece of musical equipment, with an in-depth explanation of synthesizer architecture and principles. If you didn't get a manual with your Bass station, I'd suggest trying to get hold of one. A quick search of the web reveals a copy here: http://soundprogramming.net/manuals/Novation_BassStation_Rack_Manual.pdf The manual for the software version on the Novation site (http://d19ulaff0trnck.cloudfront.net/sites/default/files/downloads/4194/english96.pdf) contains a "Synthesis Tutorial", which looks more like what my manual includes Have fun

[quote name='NancyJohnson' timestamp='1385122298' post='2284663'] Individual Cheese Portions. [/quote] How about Dare E. Lee and the Individual Cheese Portions?

[quote name='Happy Jack' timestamp='1384938854' post='2282432'] We should have closed the site off for new Members in 2009, kept it select and exclusive instead of allowing just anybody to join. I mean, for God's sake, what sort of Inner Sanctum can you be proud of belonging to when people from all over the country are allowed free access, and some of them even slap their instruments. [/quote] Errm, so you're not one of the Super Members (admission by invitation only) with access to the "special" extra fora and exclusive use of the Pall Mall clubroom? Frankly I'm surprised they haven't asked you - but it does explain why I've never seen you at any of Ped's informal "champagne and truffle" soirées.

[quote name='bassace' timestamp='1382709951' post='2255751'] ...blown out by a large female singer... [/quote] Sounds nasty

I have a Vintage guitar that I'm very happy with, but it's not this model (it's a 335 copy), and I'm also not much of a guitarist, so may not be the best judge.

Some feline aid to understanding musical notation here: http://trumpetangst.tumblr.com/post/64216370126/musical-notation-as-described-by-cats

I have the Soundcraft Compact 4 and I think it's a brilliant little thing. If I were you I would keep it and spend your money on a simple interface. I use the Edirol UA-4FX, which probably isn't available any more, but as Simon says, there's plenty out there. You wouldn't get much for the Compact 4 second-hand anyway, I suspect, so I think it would be more cost effective to spend all your available dosh on the interface. Just my 2p. Personally, I use the mixer for playing through when not recording, and for listening to music too. The interface sits out of sight under a shelf, permanently connected to the record out / playback in buses of the mixer. The interface also provides MIDI in and out, which you won't find on many (any??) USB mixers. I use the mic pre's of the Compact 4, and do all my plugging in and out, level setting, and swapping around there, which I find very convenient.

[quote name='norvegicusbass' timestamp='1382277644' post='2249945'] How many of you create a bassline by just noodling away to find something that works rather than using musical theory? I must confess that music theory is beyond me ( which as someone well versed and in love with mathematics surprises me somewhat ). I find that I can make up quite a decent bassline when I just mess around on my bass but as soon as I try to justify the line with musical theory I just cant see how the notes relate. So my question in a nutshell is when faced with the task of coming up with a bass line that fits a piece of music how many of you get out your music theory books and how many just noodle around? [/quote] A bit like asking how many of you use spelling and grammar when writing a post.....(although looking at some of the posts on the site that might not be a great analogy ).