bobbass4k

I'm not sure I even want to attempt jazz, as Bilbo jazz is about feel and getting a jazz feel out of VST's is going to be an exercise in futility, so I'll probably focus more on the second picture, but the black and gold colouring of the first one does conjure some sounds in my noggin, so hopefully I'll get the vibe right.

[quote name='Perry' timestamp='1367307473' post='2063845'] It showed just how badly our parcels are treated. [/quote] Correction, it shows how badly parcels are treated at one depot of one company. Treating it as a microcosm of the entire courier industry is a little unfair.

Excellent stuff, I still can't get over how lovely that Private Universe cover is, the contrasting dynamics are inspired considering the original is so.... homogenous. Here by Pavement would be a great song to hear given the same treatment, if you take requests . The Settle is lovely, although the lyrics are pretty depressing, but those harmonics before everyone comes in are a touch of class, good job.

I approach writing songs the same as everything in my life (to my detriment) as puzzles to be solved. I start with a riff or a melody or a chord progression or whatever, and from there I know there's other parts of the song that belong together, I just need to figure out what they are. The satisfaction of finding the perfect riff to follow that chorus is for me, incomparable.

[quote name='MiltyG565' timestamp='1367023440' post='2060511'] Yes, that's fine, so long as you buy or make me some top rate cider, and send it to me by courier. Here's my shipping address - Heaven. And it's a 'yay' on anal sex. Who said God isn't cool? [/quote]

[quote name='MiltyG565' timestamp='1367022078' post='2060494'] You there! Believe in me! And you, you're a good person, you already believe in me. And those lads, over there, NONE of them believe in me. I'll send an earthquake to reassure you all that you should believe in under fear of reprisal. [/quote] If I invade another country and it doesn't go very well do you mind if I say it was all your idea? Also, anal sex, yay or nay? I need to know by tomorrow night, for no particular reason.

For volume and tone shaping last would make the most sense.

Had to rush mine a bit but got it done: [url="https://soundcloud.com/bobbass4k/crashland"]https://soundcloud.com/bobbass4k/crashland[/url] I changed the title but the link seems to have stayed the same, the title is "Where Others Float", it's a line from a song that has romantic significance to me. I may have gone a bit overboard this month, but I'm surprisingly proud of it, although the mid section got away from me a bit and the mix was rushed.

[quote name='MiltyG565' timestamp='1366658923' post='2055690'] He had been in a coma for 10 years I believe. [/quote] 5 actually, but yea, they got Sergio Vega in and he's recorded the last 2 albums, although his creative contribution to the first one was apparently minimal, so that may actually explain Stephs switch to 8 strings, if they were jamming and writing without bass he might have wanted to round out the sound, although actually I saw a gear walkthrough where he said his switch to 7 strings was mainly for comfort, his hands are too big for 6's, so maybe not.

[quote name='Mr. Foxen' timestamp='1366656425' post='2055615'] Plenty of metal bands now have three bass players. Generally a couple of them haven't graduated into getting a real bass yet and make do with detuning their guitar, and eqing out the middly sound of guitar. [/quote] Stephen Carpenter (Deftones) has gone so low he's actually gone full circle. He started on E standard 6 strings, then Db Standard 6 strings, then Drop C 6 strings, then Ab standard 7 strings, then drop Gb 7 strings, then Gb standard 8 strings, now with the new album he's on F standard and drop E 8 strings. He is actually now just playing bass, but it works for them. Although I should declare I'm a die hard drop tuning fan. I usually stick to D standard/ Drop C and never really go below Drop B, but the timbre of a guitar is completely different to a bass in any tuning, and if the bass drops with the guitar (as it should) you still get a well rounded sound.

Wow, take the vocals out and that has a pretty big Mogwai vibe (that is a very good thing in my world), but the vocals give it a sort of early Muse b-side but better vibe (also a good thing), very good indeed. They'll be cleaning feathers out of those violins for months though. Also the beret and gloves combo does give you something of a French assassin vibe.

Very nice, did you get that from Banks'? I seem to recall seeing a couple of nice Gibsons on my last snoop through. Annoyingly, I love the look of it (it's reminiscent of a Sabre, which I love the looks of for some reason), but I know the sound would be all wrong for what I do.

[quote name='Skol303' timestamp='1366625454' post='2054908'] Ok, stupid question ahoy...! The stems for this track include stereo pairs of some instruments - each of the guitars, for example, has a left and right channel stem. I've never encountered this before. Looking at the waveforms, each L/R pair seems almost identical. So... if I sum them I'm assuming I might encounter nasty phasing issues (cancellation, weird tonal changes, etc). So what's the advantage of using stereo signals for these instruments? Or rather - is there any significant disadvantage to using just one of the channels as a mono signal? [/quote] I can't really speculate on their motives, but I usually make a separate left and right stem, for me it's so I can do slightly different things to each channel on centre panned guitars, I find it gives a nice sort of stereo feel to centre panned bits, I only really like the drums and bass to be dead centre (I honestly don't get why people pan hi-hats, which is probably why I'd be a terrible producer). Back OT, I won't be doing this month, my composition comp entry has taken forever and it's given me DAW fatigue, for some reason I decided my entry needed a multi-layered string part and a glitchy sampled drum outro, two things I love hearing but hate programming....

This is by far the most pleasant and "community" feeling forum I have ever used (bar one, but that only has 10 regulars at the moment). There is an odd phenomenon in Off Topic though, where any thread started about a vaguely controversial topic will very quickly by inundated with "well this isn't going to end well" type comments, essentially writing off the thread as a car crash before it's even got going. I would suggest that this is something of a self-fulfilling prophecy, if everyone chimes in with how inevitable a threads descent into petty bickering is then it's a lot more likely to actually descend into petty bickering. And to be perfectly frank, that isn't helped by mixed signals from the mod team. I have seen many mods contribute jokes and other comments that contribute to or propagate the discussion in threads that are ultimately locked by a mod (sometimes the same mod), occasionally with a citation of the "try and avoid religion, politics, and anything sexist please" "rule". I appreciate that the mods are also users and want to participate in threads but it can sometimes appear that they are operating on a double standard, or that the judgement of a thread becoming unacceptable is made on a whim rather than by an established set of rules.

It depends what level you're comparing. There's playing to one man and his dog at a tiny pub, and there's a sold out Wembley stadium. There's terrified teenage fumblings on a pile of old sofa cushions in the garage at a friends house party (for a totally non-personal and in no way true example). And then there's... well let's just say it involves a jar of honey, some industrial grade sandpaper and a liability waiver. I'd say sold out Wembley is better than awkward teenage fumbling, and honey and sandpaper is better than one man and his dog in a crappy pub, but is sold out Wembley better than honey and sandpaper? I'm afraid I don't have sufficient experience, book me a show at Wembley and I'll tell you. I have my own honey.

Uber-pretentious philosophical objections to the title and lyrical content aside, it's surprisingly good. My main problem with it though is that the modern production sounds very odd with the music, it kinda sounds like a modern band covering a Masters of Reality era Sabbath song.I'm now a lot more excited for the album though, Brad Wilk seems to have slotted in very well (assuming it's him on this track).

I'm still hoping to get mine done, I've uploaded a quick snippet to see how Soundcloud transcoding will affect it, as most of my entries have ended up with swirly treble after being put on soundcloud, so I figured I'd try and minimize that this time, it's here if anyone fancies a sneak peek: [url="https://soundcloud.com/bobbass4k/apr-comp-test2"]https://soundcloud.com/bobbass4k/apr-comp-test2[/url]

Very saddened to hear this, especially as his condition had apparently been improving, albeit slowly. Deftones self titled record is one of my musical touchstones.

Well my 4 note idea has gone out of the window, now I'm doing a weird spacious post-rocky sort of thing, but I can't decide whether to do normal drums or program an electronic thing, the electronic thing will probably be better but the idea of programming it makes my teeth itch.

Neil Mahony from Amplifier (everything up to Echo Street at least) uses a lot of effects, although not really in the same way as Tom Morello, but if you like huge interesting bass sounds he's the guy.

Probably not even remotely anyone's cup of tea, but these guys are insanely tight: [media]http://www.youtube.com/watch?v=37GOdU-gUAw[/media]

If you're planning on always using pedals for distortion I would go with something super clean so that you have a flat response. For super clean there's no better than the Little Mark, although I've heard good things about TC's class D stuff as well. I think a super clean class D head and a good dirt pedal set up would be better for you, you just can't get super heavy sludge tone out of a Class D amp with a tube-pre, you need an all tube head.