arthurhenry

Thank you so much for this. I have been taking a different approach and trying to program complete tracks in EZD itself. With your method, are you hitting record in the DAW, tapping your drum parts in and then tidying them up afterwards? What's the advantage of using the piano roll, rather than just opening a track for each drum? Sorry - all this is new to me!

I am new to EZ Drummer 2 and hope those more familiar will be able to tell me I'm getting something wrong! I am using it primarily to program my own parts due to the nature of my projects, but the library of pre-recorded groove may well become useful later (I have tried it as an experiment, but so far there has been nothing close to my requirements). I find the following things infuriating and extraordinary, considering they were possible on drum machines 35 years ago: 1. When a groove that has been programmed and saved, with the chosen sounds, is called up again, all the sounds change (despite being "saved") when a different kit is chosen. This means for example that it's not possible to create a track with a rock kit for several bars then a Latin percussion break, or to play your original part and "overdub" a percussion instrument from another kit. It's necessary to program both parts separately, then open EZ Drummer twice in the DAW - once for each kit. I find this incredible. 2. All programming has to be done in real time. Fine to a point, but if, for example a hi-hat moves to the wrong beat when quantised, it can't be grabbed and moved - the hi-hat track has to be deleted and redone. Fast tempo fills can't be "built" by placing drums where needed, instead the tempo has to be slowed down to a speed which allows for manual, real time tapping in, then sped up. 3. If, after a track has been transferred to the DAW, there are any extra parts you want to add, they can be composed and added in, but, when EZ Drummer is open in the DAW, the click is disabled, so any new compositions have to be done by guess work. 4. The knobs which adjust volume, pitch etc. are very difficult to adjust with precision and there doesn't seem to be any way of typing values in. Holding the mouse with two hands and trying to move it a thousandth of a millimetre is very time consuming! So have I got all this wrong? Am I looking at it in the wrong way? Or is it just very user unfriendly and way behind what might be expected of 21st century technology.

I am new to Reaper and have used it to digitise several cassettes. How do I separate a 30 - 45 min 'side' of a cassette into songs, which could then be played either individually, or consecutively as an album? To explain in a bit more detail; some cassettes are of my own ideas and snippets, which I would like to separate out and then perhaps group together in a folder called for example "Bass ideas 1" Some are radio broadcasts of concerts etc. Which I would like to convert to MP3s, which could be played as a whole, or as separate tracks in itunes for example.

Nothing yet - another decision to make! Reaper seems to be popular.

I am getting set up for home recording after a gap of 20 years. I was pretty handy at programming my Boss DR-550 back then, but what do people use instead of drum machines now? (Or should I get it out of its box?) Thanks in advance.

And Rotosound strings.

Here is David Gilmour's July 1998 letter to Bass Player magazine in response to their March '98 retrospective review of Animals (also attached). I have referred to this letter before in related discussions and have been surprised to find no reference to it anywhere online. If you're a member of a PF Facebook group or website, please feel free to share it.

I'm struggling to find a multi bass hanging rack system, similar to the one pictured. Can anyone help? Thanks

Once again, how does set up and performance work? A heavy speaker cabinet can't be carried by two people unless the handles are 2M apart. All musicians must be disciplined enough during performance to stay apart from each other - easy to forget. Any staging has to be delivered, unloaded and constructed with people staying 2M apart.

Lights? Sound? Crew? 2m wide speaker cabinets so they can be carried safely by two people?

Julia from Thomann is great.

Yes, everything you say is completely normal for me. In fact I clean my bass with polish before every gig and wipe it down afterwards.

Essentially, he left his meat and now he can't have any pudding.

Does anyone here know the origin of Leland' Sklar's name? I presume he has some Scandinavian heritage. Can't find any info.

Dougie Thompson's playing on this is excellent. The instrumental section of 'School' in particular. A perfectly composed and executed part.

One would hope that a top session player would have played it the same, since it's what works for the track. I don't hear any 'mistakes' anyway.

"You! Yes, you! Stand still laddie!"

Not as if it's unknown, but worth mentioning that Tom Scholtz's bass playing on the first two Boston albums is superbe.

I love Ian's bass playing on that album. Very Glascock-esque. (Or maybe John's parts were heavily directed by Mr. A, but I don't think so.)

Holy S h i t!

Me neither - can someone explain? And is David's wife really reading stories on the site?

I hate to break this to you but....

It's because people enjoy singing.

Nothing, but I do have something against the fairly widespread (in my experience) opinion, that as a bass player, you somehow just ought to slap. Even that it's the "proper" way to play bass. In Call Me Al and Carwash, I don't slap the bass breaks, I do something that's fun, fits the song and suits my playing style, but according to some people, that's wrong.

How can I get my mirror to do the washing up?