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G650

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Everything posted by G650

  1. Fuck I'm not that old, I'm young Gen X. But I certainly would not think it's in many Gen Z playlists, hence why I said of a certain age.
  2. As I said earlier, more his aesthetic.
  3. Is it that obscure? I figured everyone over a certain age would know that song by heart
  4. COTA sounds like it sucks
  5. The Another Brick solo was actually done straight into the board at Britannia Row with a Les Paul with P90s. The same trick Paul mention Nile does. They had an old MCI board at the time which was pretty distinctive too I think. Then it was supposedly reamped to give it the ambience. But one thing I think causes confusion is with a basic compressor, including studio compressors, the controls are amount of compression, and make up gain, and that's it, and they have names that have only the vaguest association to what the compressor is doing. The next level you add in things like attack, which is how quickly the compressor engages, and release, or how long it holds peak down. Then with say an 1176 you get into ratios and stuff. To take a Dynacomp for example, it's Sensitivity and Output. Output, ok, that makes sense. Sensitivity? Is it going to buy you flowers and wine? It's just the amount of compression, but then let's move over to my favorite compressor, the Boss CS-2, you get three controls, Sustain, Attack and Level. Again, Level is pretty straight forward. Attack, if you know what it means, is as well as it's pretty standard. Sustain? No, it's just the amount of compression again. It isn't giving you anymore sustain than you have naturally, it's giving the illusion of more sustain by compressing the dynamic range from the top down, which you adjust back with the level dial to match the dry signal, making the note decay seem shallower and increasing the relative volume of the tail of the note. It's a play on psychoacoustics. But the way companies label these things is a huge source of confusion for people trying to figure them out. I still have a dbx 166 to this day from that era.
  6. I mean there's definitely a lot more powerful compressors than ye olde Dynacomp, but it's a very simple tool to use to learn
  7. My suggestion would be get a Ross/Dynacomp type. The attack is fixed and will give you that sound. The two controls are the amount of compression amd the makeup gain, so just turn the compression up till you hear it, then adjust the gain to level match the dry signal. A piece I always point people to is Richard Bennetts leads on Guitar Town. Played on a baritone guitar btw. But you can really hear the squish right after the attack God fucking dammit
  8. Speaking of Dynacomps, @CTC2 if you want to try one, I have an old 90s one I haven't used in god knows when. I'd be happy to send it to you to play with and see how they act.
  9. My practice space? I just sitting down doing some voice training while holding my guitar and looked over and thought, man that's a pretty cool picture.
  10. Marty getting blown away by the giant speaker in Back to the Future
  11. Now yall don't be twisting what I'm saying here.
  12. Idk. I respect Lifeson immensely but the world could survive without Rush
  13. https://www.politico.com/live-updates/2023/10/19/congress/empower-mchenry-dead-00122543
  14. If you don't know why you need one, you don't need one is the most accurate answer I can give. So a limiter is just a type of compressor, generally defined as anything over 20:1. For guitar I wouldn't worry about it. As far as utility for you personally, a lot comes down what and how you play. If you play all distortion, I wouldn't think about it other than an effect to get some pumping going on, because the amp is already compressing from the distortion (you are maxing out the head room). If you play clean funk or country chicken pickin, something like a Dynacomp will give you that percussive sound. For stuff in the middle it really comes down to taste. I have a Boss CS-2 I've had since the 80s, I don't use it terribly much anymore, but it is good on things like a David Gilmour solo, where it will even out dynamics a bit for very lyrical stuff, or give some punch to rhythm parts. There are newer compressors that have a lot of control over attack and sustain as well, which you can really dial in your pick attack and transients on if you wanted to really get in the weeds. Compression in particular is a very personal thing as it is very influenced by you how play and your picking style.
  15. I think most people are missing the forest for the trees, it really isn't about whether anyone can play it or not. I think most of us here could do it in an hour with a transcription, a day or two at most just listening to it. But that is beside the point. It's the creation and feel that transcend whatever the notes may be. Conversely, there are a ton of guitarists who have amazing technical facility, who say absolutely nothing of substance. And not just the Malmsteens of the world, but there are thousands upon thousands of guys playing in bar bands across the world who can play all sorts of very technical pieces and more to the point play any song you can think of note for note. Yet they are in cover bands. You know why? Because they can't say shit with their instrument. They don't have that kind of understanding, they are just human juke boxes. I played with a guy in high school like this. At the time it seemed amazing, like oh wow he can play Crazy Train flawlessly. You know what he is still doing? Playing cover sets.
  16. We can toss the fullstack just off camera to the left in too.
  17. I was thinking about it last night, I really want to know what idiot came up with that talking popoint
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