ARGH

[quote name='escholl' post='449141' date='Mar 30 2009, 12:42 AM']plenty good ones out there. just have to know where to look.[/quote]
Yeah But Im jaded and everything sounds the same or like summat Ive heard before!!

(John Peel,comes to mind...in 40 odd years of broadcasting said that only Roxy ever sounded like nothing he had heard of before)

Pm'd

I use a 6 like a 4.....PHAT 5th fret B string.

[quote name='escholl' post='449091' date='Mar 29 2009, 11:28 PM']Since i've realized this a few years ago, i've made a point of listening to albums all the way through now, and in the right order -- after all, a lot of work usually goes into that.

And you know, it's funny, i can't stand to listen to tracks on shuffle anymore!

Of course, some albums are still rubbish, and don't flow well, and have lots of bad songs -- but those bands are usually crap, so i don't tend to listen to them in the first place ^_^[/quote]
Its not often I hear a REALLY strong lp these days.....All killer ,no filler...

[quote name='Shonks' post='448971' date='Mar 29 2009, 09:16 PM']I agree with Oscar South - there are some frighteningly amazing young players out there - and frighteningly crap ones too.
But the new young talent that is good, Is Good!!!![/quote]
Its always been like that,regardless of style...The good ones DO get noticed.

You are basically wondering where all the 'good' musicians in Metal went since Grunge turned up.


Scandinavia.....The 'Black' metal guys could write.....Emperor,Marduk (B-War was an amazing Bassist) ,At The Gates (became The Haunted),Dissection (Storm of the light's bane)....

The Brits got obsessed with the Yank trackie and trainers gang...Kinda the wrong direction from Pantera...into Korn...Sepultura wandered off the point with Chaos A.D,then really split opinion with Roots....White Zombie,Fear Factory....even Prong....

the underground was all what was left.....Those bands had better success in Europe,than back home.

[quote name='jonny-lad' post='448751' date='Mar 29 2009, 04:28 PM']I'm 22 and one thing I often find lacking in young musicians is the ability to work effectively as part of a band. Being able to listen to what's going on when playing with a band and adapting to different drummers differences in style, locking in with the rhythm section, and fitting in in the mix seem to get overlooked a bit.[/quote]
Its taking producers to bring this back,esp in 'Heavy' genres.

Its nothing modification cant deal with.

[quote name='Pissman' post='448401' date='Mar 28 2009, 09:13 PM']There were Nu-metal bands in 1989?[/quote]
The reaction was Power/Trad.....

[quote name='budget bassist' post='448423' date='Mar 28 2009, 10:15 PM']Fair enough, but the thing is, they have to teach you the digital methods because that's what the whole industry is using now[/quote]
Of course...to teach pure analogue (Have you ever split tape? I have..I am that old!) would be silly in this day and age.

[quote name='peteb' post='448329' date='Mar 28 2009, 07:27 PM']He's actually talking mainly about nu metal rather than indie!

The industry has always been more interested in image and ambition than in musical ability, that hasn't changed at all![/quote]


Nu-Metal...yes the ability to play has lowered....


Send him to see us. We might restore his faith!

[quote name='budget bassist' post='448336' date='Mar 28 2009, 07:36 PM']I never said that, i never even hinted towards that, you're just saying exactly what i said two posts ago, what's your point?

And everything breaks down, digital or not. sh*t happens.[/quote]
I know you didnt,I was paraphrasing the Teacher that was talking to me....


My friends in the same sort of thing as you,his is film/tv score and production...at Leeds,and he is like you learning digital,because the work is on that scale..small,in the home studio.

My snipey comment was about 'Popular' music courses in the UK.

[quote name='budget bassist' post='448313' date='Mar 28 2009, 07:01 PM']I don't see what's so bad about the digital revolution, it just makes capturing and manipulating trhe sound easier, the physical element of using mics to get the best possible sound is still there. And the way you mic up a drum kit is entirely subjective, as long as you get the sound you're after then it doesn't matter what you do to it.[/quote]
The head of the music dept a Yorkshire uni,had this out with me in Bingley....of all gods places

The digital revolution is perfectly fine..but what happens when it goes wrong,breaks down or isnt available? The basics NEED to be taught and learnt in an academic and practical situation.

Its amazing for mastering....it saves time,but if you cant mic properly..play in time...tune up ...without digital assistance,WITHOUT the ability to do such a thing without un-natural aid..learning the intricacies of a room,the way a mic...even mics of the same brand ,behave....do you really think that digital is going to fix that?.

I also think..though I have no proof..That to pass a popular musical 'course' is laughably easy financial transaction with somewhat small musical value.

[quote name='budget bassist' post='448259' date='Mar 28 2009, 06:12 PM']I disagree! I'm doing a music tech course now, and no amount of fiddling will make a bad mic placement sound like a good one! The only exception to that is probably reverb/ambient mics, and they don't even sound the same.[/quote]

Sorry,I disagree.....when you have a lad that clicks a mouse button to add room ambience,over simply moving the Mic,you have a problem,Ive not met that many under 21s that can mic up a drum kit properly,or younger soundguys cope without triggers.....Hell its not hard to mic a kick,Ive watched some utterly botch it.

Tuning drums,It shocks me that so few actually tune a kit correctly...even ryth sections in music are dying off,producers are having to teach younger bands how to actually interact 'sonically'....to actually write Bass lines.

I still see a ton of young lads/lasses buying stuff thats great in the bedroom and rehearsal room but wails like a banshee onstage...the beginner gear is WAAAYYY better than I had in my day,but the opposite of that is you dont get kids 'looking' for the best tone out of the instrument. Or what to modify to make better.

a flip of this is/are rich kids...parents buy the flash gear,and they have no clue...There will always be a bullsh*tt*r in a music shop,and some dont even set up their instruments anymore,or understand how small things make great effect in tone..heavier strings,less distortion more volume....little things...

[quote name='Buzz' post='448271' date='Mar 28 2009, 06:23 PM']Can you make a new thread on the questions you get (if any) Argh? I'd be quite interesting to read them, I presume they're all budding musicians?[/quote]
As...well..from what Im told...Ive an hour..Ive a gig first, in front of 250 of them....and Ive been assured they will go nuts,in the lunch hour...

Ive planned to split the hour afterwards into 20min sections.

Im gonna start with Motivation.....then the need for correct technique and knowledge of fretboard and theory...and finally a bit on....and I find this a LOT on beginners instruments correct ....installation of strings.

There will always be Musical instrument 'owners'......

One thing that is really good,in the modern age...its that you can approach or email musicians you admire,AND get a reply.

Silly question really.....

Grunge,stopped a lot of effort in music...being slack became the norm,and so we had a generation growing up,that didnt have the nous to make the effort in learning how to play or even attempt to know how to make a living on the instrument of choice...

Protools has destroyed microphone technique...joke music schools run courses on how to succeed at 'X' factor style auditions....Song writing as an original form is pretty much run by older 30-40 somethings,and a lot of what is on the radio ,its influence is obvious to the point of rip off. At least Punks in the 70s wanted to know how the machine 'worked' so they would try something new.....Not many want to make the effort at academia,and study.

If you cant read,its probably a hobby...maybe a hobby that got out of control,I pretty much say you need to know chord charts,but if you cant at least know what notes are where and in relation to what...good luck...dont expect to make a living from it.

All those metal shredders are still working....still writing,and teaching...and they were always far more versatile than people gave them credit for.....

There are always one or two exceptions..The kid that will watch,sit,listen and work at it....They make it.

Ive to do a talk on Friday..to a handful of 13-16 year olds....I wonder what sort of questions Im going to get?

Yeah,DiMarzio is the way to go...it compliments the Model one perfectly....SD's aint that punchy to me..loud yes..but not as gutkicking as a Dimarzio P.

Boiling will give you a little zing,for another 20mins maybe half and hour onstage..but it will never be better than a fresh set!

MANSONS Exeter...

Me late last year.....Hair's longer now.

Nice shaped necks....But Ive never quite found the earth-shaking tone I crave...Ive tried Steinys...and Status beat them,great Basses for cleanotone stuff,but the neck will take a tad getting used to,as its not wood... Looks are a bit of a love or hate,but you buy to play not to oogle...

You can pick up a good one 2nd hand for not super mental WAL cash...Buying new wont break the bank...

Or you could wander to Ripon and get Jim Fleeting to make you a Headless like mine.