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Jus Lukin

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Jus Lukin last won the day on September 30 2019

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About Jus Lukin

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    Pizzy fingers
  • Birthday 04/10/1978

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    My own little world

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  1. You may not be as good to go as you think if you can't perceive the effect of dynamic control on an instrument in a mix, though. You dismissed the clip Cuzzie sent you as no different to a volume boost- and yet most likely it increased apparent volume without actually getting any louder. It likely made the levels fractionally more even, making the bass more present without being any louder. It may have made a little more space for the transients of the drums, or if set to emphasise the attack may have emphasised any flams between the two. It may have made the bass a subtly stronger support to the guitars without additonal frequency masking which would come from a simple volume boost, likewise the vocals, and all of those possibilities just very subtly. Applied appropriately across all elements of a mix it can make for a balance of big sounds which all seem present yet don't overpower each other, something impossible with simple boosting of typical uncompressed audio. It's subtle, unintuitive, and rarely a night-and-day change when A/B'd. This makes the compression-proving sound clip a bit of a wild goose chase, and to worry whether an audience member could pick it out? My mum still says she can't hear what the bass does in a mix, and her son has been doing it for a living for decades. It's trite but true that the difference between good and great is a thousand tiny details. To write any one of those details off because it isn't dramatic in its own right is to miss the value of refining one's craft.
  2. Correct! There is no lack of evidence. That you demand some definitive proof that a comp on your board will make some instantly significant change demonstrates that you still perceive it to be something it isn't. The information is all out there- if you want it, go and gvet it! My 'belief' is a conclusion based on my attempts at helpful discussions of compression. And who is 'we'? You're not suggesting two warring factions are you? What is it about compression threads? 😄 You say you're open to it... if so, the information is all out there- if you want it, go and get it! You seem to be looking for one key piece of info which makes everything click at once, but it does not exist. Until you are willing to do the boring leg-work of learning your way around the myriad ways a compressor does its job, you will be stuck without answers, and asking the wrong questions. The information is all out there- if you want it, go and get it!
  3. Due to the replies, I should probably have used a smiley. I was being tongue-in-cheek, and perhaps a tiny bit passive-aggressive. I've tried to give as much of a balanced, rational view of what compressors are capable of and how they are used in the past but, for some reason, reason goes out of the window on the subject. I've sworn off trying to explain the use of compression in the same way I've sworn off trying to explain to my family that with any degree of critical thinking their religious beliefs cannot be taken as objective truth. Positions firmly held without basis in scientific fact aren't going to be balanced by scientific fact- and are even going to be actively resistant to it. There's no magic involved, and all the information is out there to be absorbed, in as minuscule a detail as one could desire. I'm happy to have reaped the benefit of it myself, but from now on the only things I want to be repeatedly hitting against a brick wall are my transient peaks. 😉
  4. The Del McCoury Band is a good shout, too. Their version of Nashville Cats by The Lovin' Spoonful often pops into my head when I'm in a good mood!
  5. Zooms are well regarded to pop in a room at a good sounding spot. If you're happy micing things there are plenty of mixers with USB connectivity- some will record a single stereo track, so you need to essentially mix beforehand by recording some test runs, and some will record a full set of stems which you can mix later in a DAW.
  6. Ooooor... Rick-O-Sound it out to an SVT and crank that bad boy! 😄
  7. What I don't understand about compressors is why people get so cross about them.
  8. Despite the contention, intentional or otherwise, there is a lot to be said for a simple, solid, insistent rhythm section, which Quo certainly had, as did AC/DC, and ZZ Top in places. There is a current Bluegrass thread here, a form of music soaked through with propulsive rhythm, and the Hony-Tonk of Hank Williams is underpinned by simple but compellingly consistent rhythm. There is much power to be found in a spare, unwavering pulse, as attested to by, love it or loath it, the ubiquity of electronic four-on-the-floor beats. It certainly doesn't invalidate more complex or even looser rhythms, but there's no harm in taking one's hat off to the strengths of a simple, tight, consistent rhythm section. Worship of anything is a bad idea and a bit of a human flaw, from my perspective, but in this context is surely hyperbole, along with 'every' and 'should'. 😊
  9. I wsih yuo'd mnteoiend taht a bit seoonr... ðŸĪŠ
  10. It depends a huge amount on the volume and sounds you are looking to balance with. I often play pub gigs with a 40w 1x10, but that's with some very controlled players, even when rocking out. I did some deps with a local metal covers band with 1500w and a Barefaced Big Twin II and they asked me to turn up halfway through! The only way to really find out is to try it in your situation- you could be surprised, in either direction!
  11. Not really, although both genres will inspire those of untrained ear to yell "Yee-haa" and do a little gold prospector dance when they hear them. As NoRhino says, Bill Monroe is the originator of the style, so immersing yourself in him and the band is a pretty solid course in what bluegrass is at it's core.
  12. I don't recall his name, but there was a guy in the 80s playing electric bass for some of the big bluegrass artists at the time. It does change the feel a little, but still makes for good music! I'm sure Vince Gill has played some bluegrass on his Tele at some point too. Bluegrass is a funny old genre, many proponents can be very traditionally minded when it was really fomented as a backward-looking, but quite urbane, sophisticated music from the 1940s. Wonderful stuff, though. I have played some electric on Bluegrass-esque tunes for an Americana band, too. Flats'n'foam, playing toward the neck with a little more of the meat on the side of your finger, and keeping it simple all help. Don't worry about too many notes, but think in terms of the feel and the 'pulse'. I think of a bluegrass band a bit like a harmonised drum kit playing 2/4- the bass is the bass drum on the 1, the mandolin/fiddle the snare on the 2, the guitar backs those two up with its 'boom-chick' rhythm, and the banjo plays 16ths like a hi-hat. It's that strict interconnection which makes a good Bluegrass band and deviation (even the slightest) is where so many go wrong. There is room for some blistering virtuosity in the style, but only during solos, and with one instrument taking the melody at that point, the solid simplicity of the rest of the band is all the more important. It's such a fun style and deeply evocative (arguably of something which never really existed), so enjoy- and a swig of something cheap and strong from a jam-jar always helps the session along, too!
  13. I'm intrigued! There was the BT-15, a solid state fliptop, or the B-100r which had Ultra Low, Ultra Mid, and Ultra High switches. The BT-15 was late 60's, and the B-100r probably mid-90's. I'm really not a fan of preset EQ though- my little personal heresy is that I don't like the Avalon U5 on the same account! 😄
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