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WinterMute

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Everything posted by WinterMute

  1. WinterMute
    I kept my old Boss Bass Chorus, nothing sound quite like it, otherwise everything else went when I got the original Pod XT, now the Stomp is my main unit. I think if you have interesting and unusual pedals in your collection they should work well with the Stomp's abilities.
  2. WinterMute
    I'd need a much longer moustache and maybe some wax.
  3. WinterMute
    Used my Barefaced Big Twin as a plant stand for a while...
  4. WinterMute
    We already have a name for these people, they're called amateurs... Most live sound is mono still, some bands do stereo and surround effects, Prink Floyd had a 24 track tape machine to fly all the surround effects in for The Wall live! Most pro engineers I've known or taught will be more than happy to build studios from piles of kit, many will build kit from piles of parts, every sound we make is chain of processors and effects, very mix a balance of thousands of individual components, I have no issue with the term engineer, I have an Mmus but I don't go around calling myself a Master, maybe I should buy a cape and start.
  5. WinterMute
    You can call me whatever you like provided the rider is filled and the cheque clears.
  6. WinterMute
    I have one, replaced a Pod HX Pro rack with it, I also have the old Pro bean pod. It's a big improvement if you want to do the full amp/cab modelling thing, which I do, it updates with the HX releases and they keep adding functionality to it. It's a bugger to use live without a MIDI controller mind, not enough switches. It sound great but you'd better be able to use the software editor as the screen is very limited as to what you can see at any one time. The Pod Go is a great live alternative, but doesn't share the HX architecture.
  7. WinterMute
    Is this a public service you provide? What a selfless fellow you are.
  8. WinterMute
    I took some time to decide, I've had ebony board fretless in the past and I prefer the look of a lighter board, my other SR5 has an epoxied rosewood board. I'm good with that Bubinga.
  9. WinterMute
    A couple of weeks ago Alan sent me some options for how the book matching for the front and back should look, I chose to go with these front and back: Today he sent me these fresh out of the press: Awesome figuring that's so well fitted to the shape of the guitar. I'm proper excited now...
  10. WinterMute
    Don't know what your setup is or how you work, but the best bang for the buck for sonic improvement is to get into Universal Audio's hardware supported plug-ins, they sound so much better than almost anything on the market IMO, and are MUCH cheaper than hardware. WA are good kit though if you want to stay in the real world.
  11. WinterMute
    Their units are generally very good value for money, are well built and sound great, they don't always nail the signature sound, but it's always pretty close. Their LA2A clone is brilliant, but it's not an LA2A by some way, I can't see the SSL clone being such different, it'll do the job but it won't be a match for the real thing.
  12. WinterMute
    Not so much a mistake, but the lyrics to the break after the solo in Welcome to the Jungle weren't complete and Axl Rose ad libbed the ""where do we go now" lines, they liked it and it made the record. Hope it's not an urban myth. It's still a cracking tune and his performance on that album as a whole is first class.
  13. WinterMute
    I think the Bongo 6 is the best looking Bongo, something about the extra body size I think, I like my stealth 5er, but this is a beast. GLWTS
  14. WinterMute
    This is where it's at generally, the choice lies in how far you want to recreate your live sound in the studio or vice versa. Some bands go to extraordinary lengths to reproduce their studio sound live, Rush did for many years, same arrangements etc, others don't, Counting Crows songs are sometimes almost unrecognisable live, Alan Holdsworth used to play a couple of bars of a song to remind people what is was then go off on flights of improvisation. You want to jam it live in the studio like the Chillies or Foos do? Fine, but you'd better be well rehearsed. You want build it piece by piece, bar by bar like Steely Dan or Trevor Horn? No problem, but you'd better have the character and identity of your songs well developed. Recorded music is music, it's just recorded.
  15. WinterMute
    They are entirely correct that recorded music is a poorer version of the original performances, as it relies on mics, speakers and psychoacoustics to recreate the original in an inferior manner, however, I can't actually fit a symphony orchestra or Rush in my living room or car, much less have them play for me on a packed tube train, so what are you gonna do? Purists gonna pure. Speaking as a veteran audio engineer, the worst possible start to a session is some musician saying "can you make it sound exactly like it does live" the answer to which is invariably "no". We can certainly approach that vibe, but even binaural recordings of performances are artificial recreations of a moment in time. The moment a microphone is involved the music becomes a different animal. We accept the conventions of recording as a necessary evil so that we can enjoy the music we want to listen to, when we want to listen to it. Even the mighty Deusche Gramafon record to Protools and edit bar by bar these days.
  16. WinterMute
    I like your thinking...
  17. WinterMute
    If you make a mistake, do it again, people will assume it's deliberate... Miles Davis said that I think.
  18. WinterMute
    Aye, listen to Tori Amos first couple of albums, particularly tracks like Pretty Good year and Cornflake Girl, the consideration of the nuance of every note is staggering, some singers just blast through their work, Bono for instance, others craft and graft to make it work.
  19. WinterMute
    Me neither, but he learned to sing in tune.
  20. WinterMute
    She definitely had talent, but the lack of autotune on her early recordings is covered by the layers of unison multi tracking to cover her tuning and timing variations. No doubt she learned to sing and became a great artist, as any others have, Seal couldn't sing when he started, look what Trevor Horn managed with Kiss from a Rose, Simon LeBon was abysmal at the beginning of his career and became a very passable singer.
  21. WinterMute
    Oooo, that's pretty. Too many strings for me, I had an early 5 string, but you do get a hell of a lot of bass even for the high price. GLWTS.
  22. WinterMute
    Percy Plant was well known for singing flat, didn't slow them down much. However, Waterman was bang on the money with his comments about Kylie Minogue, PWL really began the whole business of the face selling the music. Speaking as someone whose engineered my fair share of pop and boy/girl band titles, I can honestly say the the general rule is that the prettier the face, the more work I had to do to make them sound like they could sing. Obvious exceptions apply, but they are generally very rare.
  23. WinterMute
    Seems like an arbitrary place to draw a line on electronics and technology in music, no pitch correction, but yes to EQ, compression, distortion, amp modelling, reverb, delay, stereo mixing of mono signals, amplification, samplers, synthesisers, sequencers, DJ decks...? Remember the stick Dylan got for picking up an electric guitar? Its a tool like any other, you chose which tools to employ.
  24. WinterMute
    I fix my fretless playing with Melodyn, I don't see a problem with it, I love playing fretless but I don't practise it enough to be perfect. I also change the parts around once the tracks are complete to make a better overall song, sometimes changing a note here or there makes al the difference.
  25. WinterMute
    Chances are, if you're hearing it, it's there for an effect, most pitch correction, as opposed to auto-tuning, is entirely inaudible if used properly. Auto tuning ruins recordings and live performances for me as it's so obvious. I use Melodyn extensively in the studio, tuning errant vocals, sorting my dodgy intonation on the fretless aligning BV's to lead vocals, creating harmony parts as guides for singers, re-arranging performances, it's an incredible and slightly scary bit of technology.
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