BigRedX

Even that isn't always enough. Basschatters from Nottingham may recall "Wayne's Guitar Shack" which sold reasonable quality entry level instruments and associated musical equipment. At the back of the shop was a rehearsal room that doubled as the live room for a recording studio. Wayne also organised multi-band showcase gigs twice a month at various pubs, as well as doing general small PA hire. So not only would he sell you your first instrument(s), but he would provide somewhere for your band to rehearse, record your first demo and provide you with your first gigs, and PA hire for when you were ready to gig on your own. Unfortunately even he couldn't make this work and eventually went bust and disappeared.

As I said in my OP in this thread, I don't know about Reaper, and the downloadable manual didn't appear to have anything on their sampler plug-in. However as a Logic user I am familiar with EXS24 the sampler plug-in that comes with it, and not only does it come ready with a good number of kits all set up with GSM mapped sounds with velocity splits, but the vast majority the commercial drum sound libraries (certainly all the ones I have used) provide their samples in EXS24 instruments, and also for all the other major sampler plus-ins. I would hope that would include the Reaper sampler. Also, in the days when computers still had 3.5" disc drives EXS24 had the very useful ability to directly read Akai sample discs and translate the samples and instrument settings into EXS24 format, for even more options for drum kits. Besides IME, while they are pretty good, no commercial drum sample set is perfect for my needs and I always end up changing several sounds in a kit for ones I like better from elsewhere (either other ready-made kits or samples of my own).

I would have thought that the sampler plug-in would be ideal for drums. That's how I've always done mine since I dispensed with actual drum machines in the early 90s.

Swamp ash is any of the 40+ species of tree that are described as "ash" that has been grown in swampy conditions. As others have said the wetter growing conditions tend to make the wood less dense once it has been dried out ready for use. Whether it makes any predictable difference to the sound of an instrument is debatable since there are too many variables within the category of "swamp ash".

Thanks! That's interesting reading and although the exact details haven't been disclosed it appears from that article that NY has sold 50% of his writer's share and 50% of the Publishing share (of which he previously owned 100%). What this should mean is that both NY and Hipgnosis have to agree to any song licensing, and given NY's previous attitude to commercial exploitation of his works, especially for advertising, it might not initially be a brilliant deal for Hipgonsis. Deals like this are a bit of a gamble for both parties. NY is expecting that he won't earn more than $300m (2 x the deal price since he still retains 50%) from performance royalties before his death, and Hipgnosis are expecting to earn far more than $150m before the copyright on the songs expires.

As I asked in the other thread, which song revenue streams have actually been bought, and were they owned by the artist involved in the first place? Does anyone actually know?

Also if it was just the publishing, was it actually owned by Neil Young? Normally it's owned by a publishing company.

What exactly have Hipgnosis (BTW just in case anyone was wondering it's not the record sleeve designers, but a different company with the same name) bought? Is is just the publishing? The BBC article (the only one I have read so far) doesn't make it clear, they just say "songs", but there are lots of revenue streams from "songs" that could be bought and sold, so it would be useful if what was bought and what remains the property of previous owners, was made clear. If it is just the publishing, it's my understanding that these rights aren't held in perpetuity, but will expire at some point after the composer/author's death (it used to 20 years is it still?). The artists who have done this recently are all getting on a bit, so there will come a point when this investment is no longer worth anything. I suppose the hope is that Hipgnosis will have recouped their ($150m) before then.

I stand corrected.

IIRC Alan Lancaster was a Kramer user.

In the 80s the 4-piece synth band I was part of had a recording/rehearsal space in a cellar measuring approximately 5' wide, 12' long and just under 6' high.

What a surprise. Good job I have still plenty left.

So long as you are happy with "Assembled in Britain" at best.

Obviously not a serious tea drinker or you would have bought Yorkshire Gold, and not the cheap nasty Red stuff.

It's probably running loads of processes that are getting in the way of your music-making activities. Close ALL your applications except your DAW. Switch off WiFi and Bluetooth. If you really are 100% definitely disconnected from the internet then you can turn off any anti-virus, and malware section apps, but make sure you re-enable them all before reconnecting. Is this a laptop? If so you will surprised how many devices are hogging the USB buses, and will be interfering with your audio interface and hard drive.

Given, that previously the question of import charges was asked on average once a month when the information was well known and plenty of people had actual first hand experience of the process, do not be surprised that there are now multiple threads and most people still don't know what is going to happen when they buy and sell items to/from countries outside of the UK. AFAICS what @Steve Browning says should be correct, but right now it is just one (well-informed) person's interpretation of the rules. How others including HMRC actually interpret them once goods start moving may not be the same. Personally I wouldn't want to buy or sell anything aboard for a good few months until I've seen what others are actually experiencing.

Since there are several companies now coming up with this same problem, it would suggest that someone is giving them the wrong advice.

One of the easiest ways to cut down on processor and disk access bottlenecks when running a project is to use your effects in the same you would in the days before computer recording using buses instead of inserts. Keep insert effects just instances where a single track only needs that effect, and use buses for global effects like reverbs. The other thing to do is if a particular track contains multiple regions from multipole takes and edits, consider consolidating it into a single audio file, as it reducing the disc access burden. TBH unless you are creating massive orchestral soundscapes using sample libraries, there shouldn't be any reason for any modern computer to be running out of steam when recording or mixing a song.

They could have done. Not all the photos used in the ad are ones that I took of my Talbo bass, the other photos could be of the bass that is for sale and that one could have been imported as stated. However using photos which are not of the actual bass they are selling is not a particularly good idea, as eBay take a dim view of goods not being as described in the ads.

I had a look at my records and I bought my Talbo Bass in December 2007 from Ishabashi U-Box. It went back to Japan after being advertised on eBay in June 2013. Even allowing for the time that has passed, it was neither bought or sold for anything like the price of this current offering. It cost me just under £500 including shipping, VAT and import duty, and was sold for slightly less. IIRC the ones I saw for sale in the UK were initially being offered for £699. @Bassassin I recall the painted Talbo Basses from one of the guitar shows in the early 2000s, however I'm pretty sure that some of them had wooden bodies. A fiend of mine has a Talbo Jr Guitar with a salmon pink painted body which he bought direct from the UK distributor, which is definitely aluminium underneath. However it's the only painted Talbo Jr I have ever seen. I just did a search on Digimart to see what a Talbo Bass would cost from Japan, unfortunately there are none available right now. However it did bring up the EVO Bass which appears to be the latest version and has the partially cutaway body design of the Talbo Jr. However they are not cheap. A quick on-line price conversion comes out at around £2790!

Either, depending on the sound and feel I am after.

All my DAW project files live on a separate hard drive. I use Logic which has a handy function in the save command that ensures that all the required "assets" for any one project are copied into the same folder as the song file(s). I would expect any good modern DAW to do the same. I don't have loads of 3rd party plug-ins so managing them isn't a problem. They live in their default locations on my system drive. I could move them, but the spacing savings Vs the hassle doesn't make it worth while. I very rarely keep the installer files. My downloads folder only contains things I haven't got around to filing or deleting. As other have said there is no correct way. Just what works best for you.

"The Cloud" is a terrible idea for large file storage until everyone has a constant super-fast internet connection, also as far as backing up music project files goes 30GB is minuscule. Save cloud storage for email and small files that you need to access from multiple devices and get a good quality hard drive for your music files. If you are prepared to pay for a reliable backup service (not Google where you are constantly at the whim of their current user agreement) then cloud storage makes a decent second-tier back-up source (after your local backup source).

It's all very well saying that it will be more economical to support local musical instrument retailers, but remember that the vast majority of musical equipment isn't made in the UK and those items which are, rely on lots of imported parts. And while there's a lot of love for the mainstream brands, Basschat is also the supporter of plenty of small niche ones too. It looks as though, for a lot of them selling to the UK for the moment will simply be too much hassle. That's certainly what people with first-hand experience are reporting in this thread. Interesting times (in the Chinese sense if the phrase) ahead.

Never delete anything. You never know when you might want to rework it. Storage is ridiculously cheap these days, so there absolutely no reason not to keep everything. Just make sure you keep all the files you need for each project together. I believe GarageBand does this automatically (although you should check to make sure) Logic has a setting when you save to store all the associated external files with each project. For other DAWs check the manual.