Dad3353

Astounding technique, but 'niche', even in the shallow pool of DB players. Impressive, and kudos , but if I was to call on a player, I'd call Danny Thompson over NHOP, just for the sheer tasteful class. Impressive, but overkill, and I wouldn't listen to a whole evening of it. Pentangle, on the other hand...

I'm an 'old-school' (and old ...) drummer, with an excellent 'L.A. Camco' acoustic kit. For practical reasons, I reluctantly bought a modest Alesis Nitro mesh kit for our new practise room. Not too expensive, and quite decent sounds for practising. I was impressed enough to add a modest laptop, and now use the kit to trigger Superior Drummer 3, and it sounds wonderful, with the bonus of being able to change kits to suit the song..! Great for recording, either as audio, or MIDI, or a mix of the two. The only real advantage of mesh heads, for a decent drummer, is for the snare, where top response is needed. Most drummers will prefer mesh for the toms, too, of course, and that's a Good Thing, but the snare is where it's at. Perfection, then, would be an acoustic-type snare triggering the e-drum snare; there are several that do this (top-end Roland, of course, and others...), so a top-end snare on a modest mesh kit would bring a smile to all but the most recalcitrant of drummers. I still play the Camco, of course, but, if and when we play out next, I'm seriously considering using the Alesis, for its ease of break-down and transport, plus the tonal flexibility and quality that Superior Drummer offers. Expensive..? Quite a lot less than the equivalent quality acoustic kit, certainly, doubly so if consideration is given to the huge range of cymbals available. My acoustic cymbals alone (Païste, Sabian, Meinl...) cost over £2000 new, so it soon mounts up. Just sayin'; hope this helps.

We have a volunteer group of 'tut-tutters' who take care of anyone daring to express wild emotions by gesture or vocally. It'd also take a lot of 'really bad mood' to get Our Youngest (on bass...) to even raise an eyebrow, let alone the bass. As he's playing my bass (fretless sixer...), I'd not be best pleased to have it dislocated in a fit of pique. ...

Yes, but it's now fallen apart. ...

Paradise Circus Waltz - The Alligators (No, I know; they were a splendid local group from way back then. Happy days...)

Good evening, Bassfingers, and ... Plenty to read and amuse you here, and lots to learn and share.

Make your own..?

Good evening, Mudsprout, and ... Plenty to read and amuse you here, and lots to learn and share.

Maybe that's where we differ.? I (nor my partners in crime...) are not so much moved by the clapping and cheering (in fact it's more often an embarrassment...). I started playing because I enjoy making music with other like-minded musicians; to give ourselves a raison d'être, we rehearse, and folk ask us to come and play. Apparently they, too, enjoy watching and listening to what we do, and do, indeed, clap and cheer. They clap and cheer, and ask us back, with the repertoire we've rehearsed. We wouldn't rehearse a set with songs we don't like, so that's what we play when we play out. We get asked back more often than my health permits now, and, because we don't ask for (nor want...) payment, we can choose which invitations to accept. We don't want to be out every week-end, either, so half-a-dozen dates a year was about our maximum, anyway. Different strokes, and all that. It's all good; we don't all do the same things for the same reasons for the same audiences. I've other anecdotes about getting the party up and dancing, but that's for another time.

I trust adequate ventilation has been factored in..? Condensation, damp; the air needs to be renewed in some way. Just sayin'; s'looking good.

Our ideal audience..!

True, probably, if it's a job, but if playing for one's own pleasure, one may be more discerning, I'd say. Fewer gigs, maybe, but more satisfying.

I remember every single one of the ... ... What was the question again..?

OK, I'm out. I'm quite used to 'accents' and such, and I also know how to count bars in pieces with multiple time signatures.

No, I don't agree. Yes, one may play the drums in 4/4 throughout (I'm a drummer, and that's what I do...), but the bass staff has 2/4 and 5/4 bars in there. You can't count 4/4 all through the bass part and be on the '1' all of the time. It's possible to play 3/4 throughout on the drums; that doesn't make the bass part 3/4.

I could (but probably won't, as it's tiring, and I'm old...) count along with this (as I have done, many times...), to show how, in the first pink bit one counts to 'two', and in the second pink bit, a count of five. I don't know how others do it, but when I'm counting beats, I count '1-2-3-4-' for 4/4 bars, then '1-2-' for 2/4 bars, and '1-2-3-4-5-' for 5/4 bars. That's what I count for this song, in those spots. Counting '1-2-3-4-' from end to end will throw off the '1' beat (for the bass track, which this is; the drum track is different...). I maintain that there are bars of 2/4 and 5/4 in there.

Good evening, Andy, and ... Plenty to read and amuse you here, and lots to learn and share.

Good..! I'll delete my helpful hint, then.

I click on 'Share' in Soundcloud, then select the link text in the box that follows. I paste this into the BC post and... Voilà..!

It's so that it doesn't look stupid.

That, in essence, is the solution adopted, but using the Behringer UFO-202 instead of the X-Air (£18 instead of £400...). OK, maybe a few less options, but the music gets into the PC, which is the objective..!

Once you've seen it done, it works, but to the inexperienced, it's not so evident.

Gentle leverage with a thin blade. Here's a picture ...