Dad3353

Ray Ross, one would presume..?

As drum machines go, the Arturia is a decent candidate. It has the advantage of having all the sounds already incorporated, and separate outputs for each part of the kit (assuming you want multi-track drum mixing..?). It has, of course, the disadvantages of drum machines, too, in that, if the sounds please, fine; if not, tough. It's not badly priced (I saw around the £300 mark..?). Your choice, of course, but I'm puzzled as to what you're trying to do that can't be done with ease using Toontrack's EZ-Drummer 2 for half the price, though. Do you want to play 'hands on' with pads, or usepre-existing MIDI tracks, or create tracks in 'piano-roll' style..? If you're not into EDM stuff, what style would best describe the drum stuff you need..? Curious..? Yes; I'm a drummer, and I'd like to understand what the issues are.

Because that Ross bridge is supposed to fix an aesthetics issue..?

Word ^^

The 'threesome' mix has its interest; I agree that Andy is chucking it out well enough; after all, all three were demoing for a lone guitar spot. He fills the space; maybe a bit 'too much', depending on taste. The 'Santana' solo is competent enough in a '70s fashion; t'would fit, depending on repertoire. Still, mix'n'match gives a clear win (to me, but what would I know...) to Mike and Momo. If only one was to be retained, Andy has his chance; if there's an opening for two, it's the 'M' twins that shine. Our Andy certainly has some hard decisions coming up, the lucky so-and-so..!

I'm on it, and trying to remove the bass from each track (using your 'raw' track in anti-phase...) so as to better isolate them. S'fun..!

Reminds me of the woman, talking to the surgeon who'd operated on her husbands arthritic hands... "Tell me the truth, please, Doctor; will he be able to play the piano..?" "Yes, Madam, he'll have no problem with that." "That's wonderful, Doctor; he'll be so pleased. He never could before."

Having 'rough'-mixed them, it now seems strange listening to either one; the other seems to be 'missing', now..!

I popped the two tracks into Reaper, panned 'em 35% Left & Right; they make complementary sense when playing 'together'. Even the 'wah' finds its place..! There's definitely 'space' for two guitars of that ilk. Thanks for sharing.

More likely to be ...

Actually, it could do, but it would be quite unusual. For instance, Joni Mitchell's 'Chelsea Morning' is in 'D', and opens with a 'D7' chord.

Good evening, Bob, and ... Plenty to read and amuse you here, and lots to learn and share. Much less expensive, and so much more useful, than an effects processor would be a couple of bass lessons from a local tutor. Have a look here, for instance..? Tutors Available ... Meanwhile, try fretting a string at the first fret, then pluck the string and gently release the fret pressure. Whilst the string is fretted, it'll sound. In releasing some pressure, it'll dampen. Try this on other strings, other frets, plucking and gently releasing until you get a feel for what pressure is required to keep a note singing, and how much to release to get it to dampen. OK, it's only an exercise, not playing music, but it'll help you control the sound the bass is producing. In fact, very little pressure is needed at all, so you'll acquire the feel of the bass and get the sustain you want straight away, after a while. Worth a try, whilst waiting for bass lessons to start..?

I've seen Les Pauls (and SGs...) busted in the same way when their hard case simply falls flat from its own height. A well-known weakness of the Gibson design.

Not good; not good, either of 'em. The headstock break will be an easy fix. Any decent luthier will make an invisible join; countless Les Pauls have suffered the same fate and been glued up (and so stronger than before...). The arm will heal, too, but it'll sting for a while. Maybe time to give up skate-boarding..?

Ha Ha. As if real bassists used plectrums. Huh..! ...

These were not high-value basses to start with. Apparently they got good enough reviews, but neither are directly comparable to the 'standard' p-bass or j-bass from the same stable. Nothing wrong with 'em; they are just different instruments, with their own specifications. No idea as to pricing except to suggest that, if you want one, buy one; if you don't, don't. There's not much 'value' in the equation; it's just a bass.

And yet so much stuff is costed at £2999, rather than £3000. A paradox..?

One could also suggest that these, many, great creators would, or could, have been so much greater had they had a bit more formal knowledge of their subject. Were (Are...) they great because of this lack of knowledge, or despite it..? I'd suggest the latter. There are, of course, worthy exceptions, but I can't think of many 'greats' that would have been less so if more knowledgeable, and many 'greats' who went on to even more creation after gaining access to peer knowledge, an education in itself. An eternal debate, with no absolute answer. Maybe in some ways comparable to the plastic arts created by the 'Naive' schools, compared to the more studious works. I know which I'd rather have hanging on my walls.

I'm not sure how many of those could really be called 'successful' above on a very local level, or even then. A few got recognition of sorts in their lifetime; not many, I'd say, in the Great Scheme Of Things.

Won't it help to know when you're passed the 'tipping point'..?