Dad3353

[quote name='4stringslow' timestamp='1456138999' post='2985691']...My problem is that it sounds ok on my monitors... [/quote] Choose something for monitoring and keep it, judging all your mixing exclusively through that. How to choose the monitor system..? Play something that you know and like (any music that you'd like to aspire to; preferably in the same vein as your piece...),and go with what sounds best to you. It's more than useful, almost essential, to have reference music to use for comparison to your mix. Not to copy it, but to help home in on the elements that make up the overall sound. Don't mess about with EQ on the mixing/reference system; keep it as 'flat' as possible, once you're happy with the sound of the reference music (using several pieces of music is good, too...). I listened through my mixing headphones, which I'm quite accustomed to, and found the bass quite definitely lacking in presence (not played badly; quite the opposite...) in the mix. Always a matter of taste, of course, and musical direction, but well down on similarly-styled pieces, in my view. In the end, though, it's your view that counts much more..! We have had, in the recent past, mixing Challenges, in which the raw stems are made available for all to have a go at. Maybe you could consider such a move, if there's nothing commercially compromising in putting up the stems..? It could bring up some useful practises, maybe..? Just a thought... Happy hunting, in any case.

Could benefit from taking a couple of lessons from Adam Clayton, maybe..?

[quote name='4stringslow' timestamp='1456011154' post='2984584']... Constructive criticism welcomed. [/quote] Firstly, the compliments (you'll understand why shortly...). An excellent composition, sung with poise and confidence, brisk playing from all (yes, even the bass...); it's obvious that you all know how to play together. it really 'gels' nicely. Now, about the recording... I don't think you'll ever get this to sound crisp whilst you're all playing the same thing at the same time. It's not a question of filtering or bleed; there's just too much going on in the same space all through. I'd either go for a much more sober arrangement, and wind back the block chords and strumming to really distance spaces, or go for a thick, full sound, which is not far from where you are with the current mix. The drums are too muffled, in general, as is the bass. If this is multi-tracked, try playing back just the bass and drums, and get them to sound present, non-aggressive and balanced. If there's a problem with that, then there's a problem with the stems, and new 'takes' will be required. Once the bass-drums are up and running, add in the chords, one instrument at a time, trying to keep them from intruding into the bass-drums established sonic zone. For my money, it shouldn't take more than about half a teaspoonful to get them working, audible, but behind the bass-drums. Pan quite hard, if necessary. When all the rhythm instruments are in place, put in the bv's, then the lead vocal right in the front. I'd personally put the harmonica in last of all, and much more sparingly, keeping the current arrangement for a more whole-hearted 'live' version, where more 'stops' can be pulled. There, that's my tuppence-worth, but only from a couple of listen-throughs, though, so not deeply studied. Great stuff, well done to all involved. What you have there is not so easy to come by, and not so easy to get across on all media, either, as you've found..! Don't go for 'mastering' yet; get it to sound good through studio monitors first. Once that's done, mastering is another, separate, 'black art'. Hope this helps.

[quote name='chris_b' timestamp='1455805105' post='2982592']... A louder amp. I'd classify what you have as a practice amp. If you want to cover all eventualities you need at least 500 watts ... [/quote] [quote name='The Twickerman' timestamp='1455801674' post='2982546'] ...my 115W [b]Valve [/b]head/15" speaker... [/quote] That's not a 'practise amp' at all. If it's a Fender Bassman or equivalent, all the power needed is there. Maybe look at the cab options, but the amp will be up to it, no problem.

In his day, Paganini revolutionised the solo violin. Although his international career was short (a mere 6 years...), in that time he alone set the benchmark which is still in place today. It's difficult for youngsters to fully appreciate the true impact of his ground-breaking work and immense popularity; I suppose one had to be there to 'get it'. There are many scholars, musicians and historians that would maintain that the greatest of them all, in so many respects, was J. S. Bach. It's difficult to fathom from this far off in time the depth of his influence and creativity, bringing, to cite just a few examples, the solo instrument to the fore as it had never been hitherto envisaged, in composing multi-part harmony of such beauty, depth and intelligence that they are studied still, and have yet to reveal all of their subtleties. We owe him counterpoint (yes, it was unthought of before his extensive use of this art...); even such apparently evident techniques such as changing keys was new and bold. Truly, on the shoulders of giants are the humble songsters of modern times, often lauded for their innovation and impact. We'll see how, 4 centuries later, they are to be judged. I doubt there'll be many standing half as tall still as him. No, I know it's not relevant today; that it's not 'rock', and therefore 'doesn't count', but if we're to talk of [i]real [/i]game-changers, I reckon there's a lot to be considered in being humble as to what 'greatness' really means. Just sayin'.

[quote name='cybertect' timestamp='1455484256' post='2979553'] I am in the process of having the pots replaced on my 1967 Hofner Verithin. They have been terribly scratchy for a while and the volume controls were getting to the point where they simply cut out at some (wrong) points. My luthier cleaned them up before Christmas and things were good again for a couple of weeks, but then quickly deteriorated back to square one again. So they are coming out - I'll keep the original pots in a box somewhere just in case they are ever needed. I'm taking the view that I own the bass to play it, not for it to be an ornament. Besides, I've owned it for 28 years, it's exactly as old as I am and I'm unlikely to part with it before I'm in my grave. [/quote] Same here. All of my Hofners have had replacement parts and/or upgrades, and play even better as a consequence. I've never bought an instrument with the intention of selling it, so 'value' lost is, to me, irrelevant. Same with pretty well everything that I buy, as it happens, from my drums, to my car, the washing machine and chain saw. I buy them because I want them, look after them properly, and only change them if they're really beyond repair. Resale value has never, ever, been even in the back of my mind. Different genes or something, I suppose.

[quote name='Hutton' timestamp='1455468819' post='2979340'] That's fine as far as it goes and I agree with you. However, when someone says that they can't offer you what you are asking for your bass because it isn't 100% original because of the replaced pot despite it being included in the sale then that is a problem... [/quote] That same buyer would equally want a discount if the pot was original, but scratchy. Buyers like that want a 'win-win' sale, where they get a brand new vintage bass. They are, indeed, top dollar for collectors, but that's all. The way to maintain a new bass in that condition is to store it safely under the bed and never play it. Any played bass, 100% original or not, will be priced down from museum prices, because of reasonable wear and tear, repairs, upgrades etc. If you're selling the bass at too high a price, it's normal that a buyer will point out the reasons for discounting. If you've already taken this into account, just wait for another buyer, that's all. If the bass is fairly priced, it'll sell. Simple, really.

This ^^ would imply that, to retain this extra 'value', one wouldn't, oneself, be using the thing, either. That's the 'museum curator' model (which has its own perspective...). The extra 'value' is dissipated as soon as the thing is actually used, and can never be recaptured, by definition. New-unused only occurs once, hence the premium in New Old Stock (NOS...). Is anything worth the difference..? That is a huge variable.

[quote name='uncle psychosis' timestamp='1455412931' post='2978979'] I'm not sure if you're being sarcastic... [/quote] Be sure; be very sure. ...

[quote name='sunburstjazz1967' timestamp='1455392105' post='2978788'] Could the drummer use those and be streamed live to The Tickled Trout from his own house to save room and set up times? [/quote] Upstream or downstream..?

[quote name='hiram.k.hackenbacker' timestamp='1455391907' post='2978784'] Not sure about the tyre analogy as it would be the equivalent of strings which invariably do get changed. [/quote] What..? And lose all of that invaluable 'mojo'..? Surely 'original strings' on a historic instrument would vastly increase its perceived worth..? No..? OK then, maybe I'll change mine one day. What about the tax disc, then..? Should that be original, too, to retain the 'original' epithet..? A rocker cover gasket..? An exhaust system..? A broom handle..? What possible 'value' could originality for its own sake have..? I can understand with hand-wound p/us, or the original nitro finish, but pots..? Do they have any impact at all on the sound, comparing old ones to new..? I'd say not. Caps, now, that's different. Bumblebees or nothing..! (Well, OK; original Russian oil-filled paper and wax, for vintage tone...). A vintage valve amp with old, exploding filter caps is just a paperweight if it can't be safely plugged in. How to replace those caps, and still retain the 'Reeves' blue blob..? Why should one even bother, except as a museum piece..?

[quote name='Leonard Smalls' timestamp='1455386298' post='2978713'] Aerodrums are the answer! ... [/quote] Could be (I've a set on order...), but don't overlook the need for unimpeded line of sight for the camera and floodlight needed for the thing. Not so much 'real estate' saved, really.

I don't know how many 4 1/2 litre turbo Bentleys or Austin 7s still have their original tyres. For a museum curator, there may be an importance, and a bass that's as original as Trigger's broom would be the other extreme, but worn parts need replacing with suitable, working parts or the instrument needs putting in a glass case. One can't have it both ways, and not all that is old and original retains its value. An original 1lb of pork sausages, in original wrapper..? I think not. Anyone overly concerned about such details is not looking for a bass to play, but an investment which will increase in value. That's speculation, not bass-playing. A worthwhile occupation for some, of course; not for many, I'd suggest.

[quote name='Grangur' timestamp='1455317560' post='2978231']... Do you have any suggestions of software to use to produce the sounds of a piano?... [/quote] Kontakt 5 has quite a selection of piano sounds, of various types, available for it.

[quote name='Grangur' timestamp='1455316776' post='2978221']... Any thoughts or info will be much appreciated. Thanks [/quote] I'm not expert, but I'd say that, through a MIDI interface, it'll be fine into a laptop; as an alternative, into a hardware MIDI expander it'll be good, too. The expander would be less hassle, a laptop a bit more flexible. Unless you're looking for something specific, I'd recommend the simpler route of an expander (a Roland..?). There's loads around, quite affordable these days, and less fragile than a laptop set-up. Others may have differing views, of course.

[quote name='smurfitt' timestamp='1455293573' post='2977937'] How can you use cosm guitar amp modeling for a bass? [/quote] Signal goes in, signal comes out. Simples. Whether one likes the result or not is, of course, a matter of individual taste (or lack of...). Any and all mash-ups are feasible, some sound better than others, that's all.

[quote name='keefbaker' timestamp='1455290331' post='2977882']... Well, I call it inbox spam, "please come on my compilation it'll only cost you £50", "hey, I can get your music on spotify and itunes, blee"... [/quote] I've never had the slightest 'invitation' nor incitation coming from my Soundcloud presence. My stuff doesn't seem to attract solicitation of any sort; must be a reflection of its musical appeal, I suppose. Should I be pleased and proud or not..?

It fits my 'needs' very well; so much so that I recently took up a subscription, and now have the benefits over and above the 'free' version, and can therefore replace a file without having to lose the informations already garnered. I'm far from professional; it's purely for hobby, but, for me, well worth the very modest fee. I hope it can survive and thrive.