Everything posted by G650
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Guitar Effect Pedalphile Thread
I have a little ass parametric my buddy made too, I don't really use it as an EQ per say, but crank the mids and turn down the rest, like a cocked wah effect.
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The Guitar Pron Thread
It's from the nut to bridge saddles that determines tension for a given pitch
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Guitar Effect Pedalphile Thread
I've used Weber attenuators for a long time, highly recommended. They are simple, sound good, have a little tone knob you can adjust to keep frequencies balanced. Cheaper than going full RL
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Guitar Effect Pedalphile Thread
And here I am looking at Hiwatt DR103s because my Marshalls aren't loud enough.
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Guitar Effect Pedalphile Thread
Yeah I get that, but as I mentioned I think the pedal is actually more valuable than an actual Bandit because you don't have to deal with another whole amp being in the way, it can just sit on your desk.
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Guitar Effect Pedalphile Thread
I mean, his first sentence was literally he didn't get it. I haven't seen anything that has been exorbitantly priced?
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Guitar Effect Pedalphile Thread
You obviously don't understand the awesomeness of terrible shit.
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Trump’s America
More frightening words have never been uttered.
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Led Zeppelin
Petrilli is an awesome player. Saw this the other day, damn good shit.
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Trump’s America
- Why does no one mix* worth a shit anymore?
Partly, yes. It was compressed heavily during tracking as well, before it ever got to mastering. A guy named Vlado Meller mastered the original release, he was known as a loudness savant. It was eventually remixed and remastered about 10 years ago.- Why does no one mix* worth a shit anymore?
- Why does no one mix* worth a shit anymore?
Not for the faint of heart- Why does no one mix* worth a shit anymore?
To me, Born in the USA and Tunnel of Love are head and shoulders above Born to Run sonically. Bob>>>>>>Jimmy- Why does no one mix* worth a shit anymore?
I lol'd. I will say that even though PF is one of my top 4, I would not have steered it that way. Edit: And going back to the premise of the thread I don't think Born to Run is a top example of a well mixed album, even among Bruce albums. FWIW- Why does no one mix* worth a shit anymore?
By far my favorite bit from Dark Side is how they got the loop for Money correct. They had to setup 4 machines in a circle, and move them while cutting tape until it was the right length lol.- Trump’s America
Well, time for my daily check on r/leopardsatemyface- Why does no one mix* worth a shit anymore?
M49. Dave Jerden just passed btw, was a great dude.- Why does no one mix* worth a shit anymore?
Actually no. Digital has given us tools to mangle sound in easier ways, and different storage media (vinyl did have physical limitations) but as Paul alluded to, this has roots in terrestrial radio. Specifically in New York in the 70s. Multiband compression, which was invented by a guy named Mike Dorrough, allowed stations to really compress the sound without pumping, which is an artifact of heavy compression. Without getting to in the weeds, different frequencies have different energies, low frequency carrying more, so dividing the frequency band into smaller slices you can compression them more even and achieve a higher average level. So why this is important is people perceive louder as better, for a time, due to Fletcher Munson. Like Paul said, a band will come back and cry if their song isn't as loud as the next guy because they perceive it as worse. Also why commercials are so loud. other side of the coin is its ultimately fatiguing. The real start of this is by a guy named Larry Berger who was a program director at a NY station back in the day. He was the first to apply multiband compression to broadcast radio because he knew being louder would get listeners. And it just spiraled from there. The RHCP album Californication is really recognized as album that went over the top, and Death Magnetic as the loudest ever. As I said though in the second post of the thread people have backed off it quite a bit, it's been pretty well recognized as not good. Not that its great now by any stretch, but at least the problem has been recognized. I honestly wasn't 100% sure where ztejas was going with this, but I suspected the brickwall limiting may have been it, which is why I brought that up initially.- Led Zeppelin
Motorhead is playing the Superbowl?- Shit's Borked
- Shit's Borked
Desktop is good, mobile borked for me.- DOGE: America Fucking Around
The problem with that view, and I know plenty of people who espouse it, is it's empirically incorrect. Under Obama, the government and society functioned as it was supposed to, even if you didn't agree with it. Under Trump the government cannot even provide basic services correctly.- Why does no one mix* worth a shit anymore?
It's funny, because this actually raises a point that is always in the back of my mind when these discussion invariably arise, that of what is pleasing to the ear. Fidelity has increased measurably, but that isn't what makes something pleasing necessarily. The way in which a lot of old gear distorted the sound was actually what made it so appealing (I realize you know this, this is just talking to the group), old Neve saturation, how tape knocked of the highs, etc.. I find delicious irony in the proliferation of saturation plugins to mimic the shortcomings of old gear. Of course the ease of working digital is a big selling point, but I still get a chuckle when I think about it.- Why does no one mix* worth a shit anymore?
I was actually having this conversation a few weeks ago, maybe on Gear Page, maybe gearspace, can't remember, but either way, it used to be you recorded with "the" console. Which to me gives a unified sound. I am sympathetic to the argument that you can use different flavors for different things, but it's just not my preferred way of working. That said, I do have a few 1073s, 4 Daking, 4 API 512s myself, so I guess I'm not immune. IIRC Paul had a rack of outboard 1073s? Anyhoo, you forgot the greatest, the Trident A Range. - Why does no one mix* worth a shit anymore?
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