Dad3353

A paradiddle is a means of getting back to one's 'leading' hand when going around the toms, for instance. Playing T1 'LRLR', then T2 'LRLR' then the floor T3 'LRLR, I would want to get back to the snare with my right hand, so would play the T3 as a paradiddle, ''LRLL'. (I play 'lefty', so inverse, maybe, for 'righty' drumming'...). There are oodles of drum rudiments, most of which were evolved from marching drums, primarily on the snare, but one may use their application in practical ways, once they've become natural, on a modern kit. It's not just theory, or exercises for exercises' sake. It's all useful. Hope this helps.

His playing was the main inspiration for me to take up drumming. I still use many of his licks.

A month earlier, the van the Fairports were travelling in had a major crash on the motorway, killing two, hence the Benefit Night.

Ah... You're new here, then..? ...

Some basses can be shortened by removing the neck (or so I'm led to believe...). It's no fun couriering a drum kit, either.

Not true, of course, for the Good ones. As an example Superior Drummer 3 gives the choice of either programming manually left/right hits, or adopting the 'Alternate Hits' function, which, as its name implies, triggers samples alternately (useful for double bass drum 'blast beats', for instance...). With normal 'round robin' sample triggering and 'humanised' velocity levels, it would be difficult to tell whether it's a machine or just a very good drummer, most of the time, without a specific 'right/left' precision, but it's there if you want/need it. Other drum software have similar functionality (BFD, Slate and others still...). When practising drum rudiments, using 'mama-papa' strokes and/or paradiddles, one of the aims is to have an even 'hand', so as to not hear a difference between the two hands. It's not the easiest of exercises, and is often neglected, but in theory at least, one would not hear any 'right/left' from a Good Drummer, so it's a bit of a moot point as to whether software should offer it or not. Listen to Buddy Rich, Joe Morello, Terry Bozio or Dave Weckl (other brilliant drummers exist...) and I defy you to tell which hand/foot they're playing any particular stroke with. Just sayin', hope this helps.

Once again, this old saw. Once one has enough for oneself, what matter the financial arrangements of others..? A toxic mentality, surely..?

I know nothing o Windows 11, but if it's anything like Windows 10, try this... Open the 'Device Manager'... Open 'Hardware and Sound'... Unroll 'Universal Serial Bus Controllers'... Right-click on each in turn and look at the Power Management' tab... Check or un-check anything relevant to your issue (some will not have a 'Power management' tab; pass on those...). Hope this helps.

Not for me; and you..?

Already (recently...) posted in another topic ...

? ? ? I'm not seeing the issue here.

In many bands, there' a band leader. He/she will have set up the PA needs, Splitter van maybe, web-site costs, flyer/poster printing (sometimes even costumes/stage dress...). He/she will have the finances sorted as to who gets what, either as a fixed sum for turning up and playing, or a split of the gig money; all of this will be known to all in the band, and any that will join. It's only really an 'issue' if the band is set up on a 'mates' basis, with some sort of 'democracy' (or 'anarchy'...) in place. In such a case, there's no 'right' nor 'wrong'; each collective will have its own way of sorting out issues, with a punch-up in the car park as a 'last resort' option. How other bands do stuff is academically interesting, but each group has to find its own modus operandi, preferably before the punching starts.

I'm not at all sure what the issue is, here ^^^^. I can think of little to differentiate between 'alternate chords' and 'chord substitution', and which 'alternate' or 'substitute' is appropriate is entirely a question of context. If it helps the piece along in any way, it's all good; if there are potential clashes with other players, either it's understood beforehand, or discovered when the clash occurs..! These notions are more typically found in 'standards', often from the Real Books and such, and there are often variants from different executions of the piece over time, from different performers with differing styles. Once one has some familiarity with some of this, it gets easier to 'know' what to play; this experience is gained mostly by playing the pieces, listening to what is going on and discussion with fellow musicians. It's not really a mathematical issue (tritone-shmitone...); simply the way certain styles of music have 'rules' that can be bent, broken or ignored by the players. If in doubt, play the main stuff, and leave the optional bits unless they've been clarified in advance, or didn't work the last time you (all...) played that number. It's not rocket surgery, so no real need to over-think this stuff. Being aware, and studying it, is great, but the pudding gets proven only when it's being played. Rehearsals can help in sorting out issues like this, although that's a luxury that a dep doesn't often have. It only takes a few moments to consult with the keys/guitar colleague; he/she will already have an idea of what's to be done, so it only needs a little agreement. Usually. Until someone forgets, and a bum note is played. Ho hum... That's jazz, innit...

All of this one of several reasons why we play for free, as this removes any of the hassles, pitfalls and anguish from these pecuniary matters. It's just for fun, for us, and not a job; we don't need (nor would we want...) the income. Life can be simple.

It works every time.

Sigh...

It means that you now owe me £20.

It's referring to your post count having clocked up 3000 posts.

The opposite effect here. Some decades ago, I was playing (drums...) at a wedding 'do' at a small local restaurant, as a duo with my buddy on accordion and organ. The landlord had warned us that he had a strict 2am curfew to respect, so we had to be finished by then (these weddings can go on till dawn, otherwise..!). We agreed, and played our usual repertoire of slows, waltzes, musette, some light rock, until we got the nod that it was time to wrap up. The ambience was hot; all were mightily enjoying their evening, but when it's time, it's time. We launched into two numbers, guaranteed to clear the dance floor and shoo everyone out: an accordion/drums rendering of 'Saucerful of Secrets', followed by 'In the Court of the Crimson King'. It was glorious, for us, playing, but the surprise was total, as (maybe aided by the liquid refreshments of the event...) the reception was rapturous..! Applauded as heroes, we passed the curfew and played on for over an hour more... That's not the end of it, though; I now come to the 'requests' part... Two years later, we are booked again for another wedding at this same restaurant (we'd not played there since...). Immediately upon arrival, the patron's eyes lit up and we were greeted like rock stars, with the 'request' (rather more an injunction..!) that we play the same numbers at the end. We obliged, of course, and another wedding 'do' ended in a vacarme of cymbals and accordion, to the delight of all. Happy daze..!

If there's any doubt, could you not hire the rig for a month or so, to try it out in your own environment..? Most companies/shops will allow hire cost to come off the cost of buying it, if it works out to be suitable.

If you stand at the back in the shadows, the lighting rig isn't, either..?

Ha..! For the first few years of Kiemsa, I, as the father of Our Eldest, their 1st Guitar, provided the PA, and drove everyone to gigs and back in our Renault Espace, pulling a hired trailer for the gear. I did their sound from the desk until the Drummer (studying to become a Sound Engineer...) relinquished the drums to take over the desk, and I continued doing the lights. A new, better, drummer was brought in. We toured France for quite some time; as the gigs got better, the PA became a venue one. Soooooo... Yes, it can and does happen that there's a willing dad to do the heavy lifting.

For more decades than I wish to relate, I've always been the one to own, outright, the PA, lights, van etc for the bands I've been a member of. Any band mates (and others, if they're trustworthy...) can use any of the stuff if they want, if I/we are not using it. I charge nothing to anyone for any of this (it's all been paid for long ago...), and am beholden to no-one, and am free to do as I think fit. All my own drums, naturally, but I've also a wide selection of basses and bass amps, guitars and guitar amps (some of which are currently out on long-term loan to friends...). I've never been rich (obviously...) and have worked (in modest jobs that I liked...) to feed the family and acquire the gear I wanted. I don't feel that there have been any sacrifices, and I've never been betrayed in my open trust in others (except that one time when Laurent returned my bass drum having cut a 'port' of sorts in the resonant head; I was not pleased...). Karma..? I'll see about that later, when I'm old. Life can be so simple when one avoids complicating it (or maybe I've just always been lucky...).

Aye, thems was the daze ...

If I was doing the FOH, that's how I would resolve a 'dynamics' issue...