Earbrass

I've been using New Moon to insure my nyckelharpa for the past few years. Very reasonable rates and easy to deal with, but I suppose one doesn't really know how good they are until one has to make a claim, which, touch wood, I haven't so far.

Oh dear, I do seem to have touched a nerve, don't I. 😂 Not my intention, I assure you. You, of course, know the personalities and situation, and I do not. Nor is it any of my business. I was merely pointing out that the facts as stated in your original post did not square with the "making rules for others to follow" remark in your subsequent post. I'm not sure where you get the idea that I'm "offended", vicariously or otherwise. If asserting your right not to take a free and harmless test is more important to you than having a band rehearsal, that is, of course, a matter for you and your bandmates. And you got to come on basschat and crow about your successful assertion of such rights, so, well done you!

He wasn't though, was he, if your account is correct? He was just saying that he wouldn't be attending if you didn't have a test, not telling you that you must have one. Seems perfectly reasonable and sensible to me.

I'm by no means an expert, and for this very reason I have spent a lot of time watching YouTube videos about how to do home recording. The conventional wisdom seems to be that one problem with using headphones exclusively for mixing is that it screws up your perception of the stereo field because there is no "crossover" between the two channels - all and only the left channel goes into your left ear and the same for your right. When played through speakers, the two channels interact in ways that you don't get through headphones. Having said that, there is also a lot of warnings about bad monitor placement (eg don't have them with their backs to a wall, have them at ear level, etc etc) and poor room acoustics also screwing up your perception of frequency balance, which use of headphones can avoid, so there's no simple answer unless you can design, arrange and treat your studio room for optimal results. One good tip is to always check your mix on your car stereo (assuming you have a half-way decent one) - the reason being that cars do not suffer from the internal reflection of bass frequencies that can plague acoustically poor rooms; all the bass leaks straight out through the car body, as is all too often painfully obvious if you live near a busy road.

Can't comment on their double basses, but I have a couple of nyckelharpa bows made by them, and they are very good considering their very reasonable price.

Hi Nerian, PM'd

Things to consider: - are you happy with minikeys or do you want full-sized ones? - how many octaves do you need? - will you only be using it to play / control vst synths in the computer, in which case a USB output is all you need, or will you want to control other hardware via MIDI or gate/cv? - is it just the keys you want, or would you prefer to have other assignable MIDI controls (knobs, sliders, buttons etc) which can be used to control vst (or hardware) synth parameters? - how important is the feel of the keyboard or you? - how important is portability - will it be permanently located on a desk or other stand, or do you want to be able to use it with a laptop wherever you want? Answering these questions will help narrow down your options.

Hard to know which of the two is worse. The busker is breaking the local laws and causing a noise nuisance. They deserve each other.

The first one in the morning is hard to beat.....oh wait, I think I may have misunderstood the question...

The bass is featherweight. Actually very comfortable and well-balanced, so not at all like a Reliant in that respect, to be fair. Similar amount of posing power, though.

Bruford/Wetton period King Crimson, Sabbath, Hawkwind, etc...or does that stuff not count as "heavy" any more? 👴

Peavey Milestone III, bought from a Cash Converters in 2005:

Generally, anything by any of the "rat pack" makes my skin crawl, but I do like Sinatra's "That's Life".

Again, track parameters such as fx send levels can be changed on a step-by-step basis using "parameter locking" See manual section 8.12.1. (I don't have a Model Samples myself, but have been a Digitakt user for a while, and a lot of the concepts are similar) 8.12 SEQUENCER FEATURES 8.12.1 PARAMETER LOCKS Parameter locks make it possible to set every trig to have its unique parameter values. The note trigs of an audio track can, for example, have a different pitch, FX send, or filter settings. It is possible to parameter lock the parameters that are controlled by the PARAMETER knobs, and the NOTE and VEL settings. You can also parameter lock the parameters on the LFO menu and the LOOP and the REVERSE settings. For a complete overview of all parameters on the PARAMETER pages, please see “9. TRACK RELATED PARAMETERS” on page 32.

You know you can extend that by using sample locks (ie switching the source sample on a track on a per-step basis)?

Here's a couple of videos showing what happened when an orchestral composer and an electronic composer each agreed to arrange one of the other's pieces

I went to see a performance of this when I was 15 - my first ever Prom concert. Fabulous stuff. Couldn't stick the guitar version for more than a few minutes. The notes may be "correct" but the feeling and sound textures are nowhere near as rich, subtle and varied as those delivered by the orchestra as scored. Imho, ymmv etc.

Meh.

Frankly, I resent the suggestion that I am a boring bass player. I'll have you know I haven't touched a bass in months.

"Acceptable / respectable" musicians? No, it'll never catch on.

Yes, and quite right too. 😜

This discussion reminds me of Michael Flanders' remark to the audience in "At the Drop of a Hat", on explaining that the show was being recorded in new-fangled stereo: "So wherever you're sitting now, that's where you'll be on the record."

I once went to see Ray Charles in order to see Diana Krall supporting.