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Well, the audio interface arrived, my Tascam US-1800, and it’s a pretty fine piece of kit so far. On the downside, it requires a driver and won’t aggregate with other audio devices. On the up side, with 14 analogue inputs, 2 SPDIF digital channels and 4 analogue outputs, lack aggregation support isn’t really an problem.
Because it won’t work without the driver, it won’t work with iPad like some smaller models (ie, the US-800) but, provided you don’t connect the device to your Mac or PC before installing the driver, you won’t have a problem with the driver. If you have installed with the device connected, just uninstall, disconnect, restart, reinstall, restart and plug in.
Sound quality is great, no hiss whatsoever. The channel faders are a bit twitchy (and the peak lights, tend to charge up a bit) but, at 24 bit, you can afford to err slightly on the low side with record levels. I’ll have more details on recording quality after tonight, when I plan to record The Collectables’ rehearsal.
The US-1800 comes with two software disks, the driver installer and a copy of CubaseLE. I tend to multitrack in Audacity and export to raw tracks before importing to GarageBand for production and mixdown, but I’ll be giving Cubase a go.
My preference for DAW has always been GB even over Logic because the features get out of the way and let you focus on the sound, rather than routing, fx loops, groups and other analogue desk features that don’t really apply so much in a digital world. So, it will be interesting to see how Cubase stacks up.
- Posted on the go.
March 2 The Collectables play the Basement at St Kilda’s iconic Esplanade Hotel. For a late blooming yokel from double-headed Tasmania, playing the Espy (any room at the Espy!) is a 5 star bucket list item! That Scots waster from the previous band did me a favour because, if I’d stayed with them, there’s no way I’d ever be playing The Espy!
We’re playing The Espy! Whoot!
Sorry, dear reader, I’ve been lax, but only for time being sparse over the silly season. I promise to post more soon, truly.
Alex was knackered from it being his second “Friday” in fulltime employment. Tony was struggling with the nebulosity of the info we were giving him for drum parts in two songs. I was screwed into the ground by BAD sleep on an early start and a looooooooong day.
Not every rehearsal makes us feel good, but we become better players just as much from the bad ones as the good. That is all.
I’ve ALWAYS loved Deep Purple’s “Smoke On The Water.” I reckon it’s arguably the best song off the best album in the history of balls-to-the-wall rock. Guitar, hih-hats, bass, LET THERE BE ROCK! 
So, for years I’ve had this bug bear. Because of SOTW’s school holiday music shop shred reputation. I’ve never got to play it, properly with a band. Nobody wants to do it justice and play it right because they’re afraid of everybody thinking “awful high school kid in a music shop.” Eff off! Played properly, it sounds NOTHING like that kid.
Well, at a social jam on Friday night, a bunch of old farts like me, including a guitarist veritably CHANNELLING Ritchie Blackmore at his peak, cracked it out old school. Tick that one off the bucket list, I can rest easy now, I’ve finally played in an awesome session with awesome musos and the coolest vocals by a great singer.
I think the lovely Linda recorded it, too, but we’ve got to clean up the hard disk before we can capture it off the camera.
Well, my Friday’s going to be a blast. I’m off to a social jam. Beer, Pizza and classic rock. Looking forward to it.
Many of my friends and colleagues in music over the years, even myself, have played in covers bands. The reasons vary but usually have some link to it being easier to attract and hold a crowd with songs the audience “know.”
But do the punters really know the songs they hear? In one band I formed with long time friend, Deadman Turner, punters sometimes asked about the, “Midnight Oil song we played.” The song was an original of mine, arranged by Deadman and me, and was one of many originals peppered through a setlist that was a mix of original and cover. We played across rural northern Tasmania for about 6 months and in towns we were told originals would never be accepted, the originals were what the punters talked to us about, and it was always favourable.
Then there’s the vice versa. I’ve had people suggest that, “You guys should do <insert song here! It's awesome and would fit you guys so well!" Guess what? We do, it was the last song in that set, we finished 2 minutes ago. No, we didn't do a strange arrangement, we've been told it sounds like the record. This everyguy loves the song, is always front and centre on the dance floor, and doesn't know his "favourite" song while we play it "like the record."
Basically, a musician is not a juke box. A musician is a passionate artist and music fan. Why waste your talent promoting the work of others who are already famous enough, to people who aren't there for you, but for somebody else they'd rather was playing. The punters who appreciate the music, who hear what YOU create and value the new and different, they are your fans. The knob who wants you to, "Do Enter Sandman!" or "Do Mustang Sally!" isn't after music, they're after a party and might as well go home and throw one. Do Mustang Sally? Not even with your dick, mate.
If you write songs, don't play covers. Stand proud of your work and fight for its right to party with you and the audience. Admire your favourite artists, by all means, but don't hide your light behind their's. Stand out front, loud and proud, and give voice to your muse. The audience you attract will be better than any cover hunter punter.
Warm your bones by my melodian. With reeds like a harmonica and keys like a Casio CZ-10, it’s just what our new song, “The Fireplace,” needs.
This is the latest test of a system to allow me to play a “hook” on the keys, then transition (hopefully) seamlessly to bass and back again. The melodian is held to the shelf by Velcro dots, the shelf is screwed to a pressed steel bracket, the bracket is heavily taped the the boom on the mic stand and the blowpipe runs up a coated wire (also heavily taped on) and is held to this with 2 Velcro cable ties.
Ladies and gentlemen, the MelodiStand 2000.
After Sunday’s rehearsal, I decided yesterday to try out a simple rig to see if I could play the melodian part and switch to the bass part in time, and back. It took 10 minutes to figure out playing the part (a simple inversion on the chords), another 10 to figure out how to attach the melodian to my Ashton acoustic bass and about 30 minutes to practice the switch until I could get it right. I’ve recorded it, too, but the vid’s a little large (and a bit rough, audio-wise) for uploading. So, it works a treat. Now to rig something more professional, with much better ergonomics
From time to time I,
Find myself somewhat inspired,
To compose haiku.
It helps to pass time,
And keep boredom at arm’s length,
With a slight chuckle.
