Wil

Bowie/Eno's work on Low was probably fairly significant in that regard also, a few years prior.

To me, most 80s music sounds terribly dated because of the production tricks, drums sounds and synths of the time. I find many 70s records sound fresher to my ears tbh. The early 90s was just as bad. Too much bloody digital reverb.

A lot of Zappa's back catalogue sounds very ahead of it's time sonically.

Power in Numbers is a good record. Got a bit tired of their sound after a while though.

Somewhat similar in style (and I think collaborated with) J5 is Lyrics Born who did this splendid feel good number:

[url="http://www.youtube.com/watch?v=ucuhS-QZEOk&list=PL1786EC976A922AF4"]http://www.youtube.com/watch?v=ucuhS-QZEOk&list=PL1786EC976A922AF4[/url]

There are theories about whether major and minor equating to happy/sad ties in with early human communication. I remember reading (I think in David Byrne's book "How Music Works") that studies have found some correlation between major/minor intervals in speech and emotional state. Not sure if it's something that's been validated/proven or not but interesting none the less.

Content as a bassist and as a guitarist. I'm now learning piano, theory, sight reading etc and feel very inadequate, but my goal is to be able to eventually sight read pieces by Rachmaninoff, Gershwin etc and improvise around jazz changes, so I have a lot of work to do. With bass and guitar my goal was to make original music in originals bands, and I felt happy with what I know for that purpose.

I think Lennon was using heroin around 68/69 which may well have something to do with his general malaise on that recording. I love the Beatles but I've never liked that song personally, bit of a dirge IMO.

They feel great, look great, are beautifully made, but I just didn't enjoy the sound of my P with one fitted. I switched back to a wood neck and the difference was quite pronounced. It had more sustain with the status neck and I think that was part of the problem. Part of the character of a sound is what happens when a note decays and I wasnt happy with the way the Status neck changed that.

Oh yeah, also used a Markbass F1 with mine and that was fine for 99% of gigs tbh.

I did however find the Tech 21 Landmark 300 head I had was under-powered for both the Schroeders I owned and initially I thought I had a bust speaker. In fact the head was clipping and the cabs weren't breaking a sweat.

Never used that cab but I always found with the 1212L and 410L I used to own, the more power the better. I had great results using a Sansamp RBI as the preamp and a Crown XL 700 watt power amp. With the 410L that was enough power for an outdoor gig with no PA support and it sounded great.

I tell you what, theory makes a hell of lot more sense with a piano keyboard in front of you. It's just so logical compared to a fretboard. Having piano lessons at the moment and loving them.

I can't see the back of my guitar when I'm playing, so really couldn't care less if it has buckle rash. Dings etc dont effect sound or playability... Just play the thing, enjoy it and maybe wipe the blood and semen off once a year.

I do however care a lot about setup, making sure screws etc are tight, and a clean/oiled fingerboard every now and then, but that falls under the playing comfort umbrella.

This festival was incredible and now my brain doesn't work anymore.

[url="http://www.youtube.com/watch?v=MsPaXXvwTsw"]http://www.youtube.com/watch?v=MsPaXXvwTsw[/url]

The album is absolutely stonking, and I'm not even a massive QOTSA fan really.

I actually think it doesnt look bad at all, although I think it'd look way better with the headstock the right way up. It's a bit thunderbirdy.

I'd imagine they'd be fine if you're connecting pedals of the same brand together (so the input/output are all in exactly the same place) and the pedals are solidly mounted to a pedalboard, otherwise when you stomp on them I expect there's a risk of that thing breaking.

[quote name='hairyhaw' timestamp='1376257536' post='2171519']
Bang on. My introduction was Invisible Touch - I was 10 and completely disinterested in whether they looked/acted cool or not. Got the album for my xmas and was hooked on Anything She Does/Domino/The Brazilian. Explored the rest of the catalogue in later years.

Totally don't have the problem with Phil that other people do - I'd also have to say that I think Face Value is sublime.
[/quote]

Come to think of it, my mum used to listen to Invisible Touch in the car when I was about 10, and I remember the Brazillian being quite epic. Can't really listen to that album now, it's a bit of a cheese fest and the 80s sounds are horrific. Still think the title track isn't a bad pop song, though.

[quote name='xilddx' timestamp='1376139506' post='2170120']
That's one of the most sick-making headstocks I've ever seen, even worse than the Ibanez Roadstar ..


[/quote]

I don't get what's not to love about these headstocks, they're like the traditional Fender ones but more swoopy and awesome.

Although, the more I think about it, part of what made the Starcaster so cool was that it's such a rare bird. I guess it wont be soon. Same with Jaguars, Jazzmasters and Mustangs, they used to be something a bit special and out of the ordinary (to me at least), now they're common as muck.

I'd be interested in a reissue Starcaster guitar. A certain floppy haired guitar abuser from Radiohead got me hooked on the look of them.

[quote name='ras52' timestamp='1375803681' post='2165891']
Probably not great running material, as they have d[size=3]y[/size][size=2]n[/size][size=1]am[/size][size=2]i[/size][size=3]c[/size]s!
[/quote]

This is very true. I think The Lamb Lies Down on Broadway might have the biggest dynamic range of any non classical recorded music I've heard!

I find Genesis to be a bit of a guilty pleasure. I like the music, but I'm concious of how overblown it all is. Some great music in there though if you can get past that.

I like Selling England by the Pound and the Lamb Lies Down on Broadway. Supper's Ready from the album Foxtrot is quite something too, not such a fan of the album though.

Tascam Porta 02 started me off. Spent many happy hours as a teenager with leads trailing all over my bedroom, bouncing tracks down to my hifi and using a Korg multieffects unit for all my EQ/processing. Loved it. Now I use Ableton with a novation interface and a Rode M3 condensor mic.

Newish strings, EQ out any excessive brightness, IMO. You can take brightness away but it's hard to add it back in, and I'm sure someone in the know will correct me if I'm wrong, but isn't (aren't?) there a myriad of lovely harmonic overtones lower in the frequency range that provide a richer tone but arent necessarily associated with "brightness" that get lost when strings are gunked up?

Obviously all depends what sound you want though at the end of the day...