jimmarchi1's forum posts 8022

and yet? the snobbery!

I own guitars in so many price and quality rackets and Ikeep them beause they all have uses. Are you a podiatrist tone snob or a creator of music?

I ow 2 MIMs and a vintage series American parts tele... no difference. what makes the parts tele great is the custom bridge and pickups and its still apples and apples

one ofmy best friends owns a top shelf custom shop tele which is maybe 100 to 200 bucks nicer than my DITY and maybe 300 bucks nicer than my modded mexi esquire

get a guitar you play well that sounds good!

you crazy kids!

https://s-media-cache-ak0.pinimg.com/736x/f6/f9/cb/f6f9cbd58c0093e25ccfbdfb74fb5ede.jpg

just buy a a used fender mexi... gaaawd, used guitars are predisastered.

ya dangus!

unless you are me and you can afford a stable of a dozen first rate guitars? its a non-issue

even at my level of guitar acquisition I cannot generalize... I own rosewood, finished maple, kingwood, and ebony across my collection and theres no generalized tone even unplugged, Every other factor has more tonal impact.

umm no, a valve or tube requires way more voltage to operate at audio spec than even a wall wart can muster, its starved plate design.... if you lie it fine, but don't pitch it as something its not

facepalm

buy vintage, stay within your national borders? new guitars mostly suck anyway... a shame for Gibson custom

that style is called Bebop and it evolved into Free Jazz where its more noodling and even less structure... think of some of Miles Davis' records after Bill Evans left.Especially the ones with Herbie Hancock, Free Jazz... that evolved into that post-funk jazz on Bitches Brew and then Fusion. If you care about genres. Its all just jazz at some point. These are all just distinctions cooked up by the guys who wrote for the Downbeat!

Or are you saying the band is named after the players? because that's the whole small abdn Bebop convention. in jazz the band was typically named for the band leader but in situations with small bands where there were a couple of big draw stars like Bird and Diz then the band was named for both of them. This is totally normal. A band name like Black Sabbath is a more recent development and more of an anomaly in a historical sense.

I am against ports with speakers. They allow that gross bass swell

I think that's a 'gross' generalization... I tend to like un-ported and inefficient speakers but tis not a rule, plenty of ported monitors sound 'swell'. Its a question of how well the enclosure is designed for the drivers in it and that includes any porting or bass reflex stuff going on. I think you'll find the guys who mix rap don't always use ported encosures. inf act most of the hip hop mixers will have NS10s or 10Ms setup (the original NS10 starts rolling off at 85hz! )and lean on them pretty heavily because everyone does. Honest mids and all that.... There actually was a bass reflex NS10 model in the late 80s but you never see them (they reached down lower than the 10M). You are more likely to see unported ANS 3 way yamahas like the 3 ways I like than the ported NS10. The Yamaha's? people are used to them flat in a scrawny little enclosure with the inaccurately rolled off bass that doesn't distract you from getting the midrange of a mix right and if you only reference on ported units intermittently you will tend to make a brighter and thumpier mix, great for ahrd rock and club music.... however, there are TONS of speakers that would be worthless without their carefully designed ports and bass reflex systems. It depends on the drivers. it seems silly to be wholeheartedly against an acoustic/audio-reproduction technology based on some subjective impressions... I wouldn't call a mix done without using some huge speakers or ported/bass reflex speakers to make sure I was hearing that sub 100hz range right on the unported speakers I like to use (I tend to flip between 3 way yamahas and some unported tannoys from the ns10 era, though I have NS10s too)...

but Mackie speakers are still crap.... I just wouldn't specifically single out the porting

and wear lace up shoes and tie them tight. I lost both shoes crowd surfing once in an indoor venue...dancefloor filled with broken glass (Australia... need I say more)

I lost a low top con once the same way.... I wanna say it was at a pumpkins show, maybe the MCIS.... I forget now. I lost it early on and it was awful. It woulda been better outdoors, just lsoe the oter shoe, but in the old Spectrum? aand then trying to go home on the subway without shoes????

go ahead and delete.... mailed you. Got an appointment in les than an hour so I may not be able to respond until tomorrow if your question requires an intelligent answer.

the kids still call it moshing? It was slam dancing when I first got into music, then sometimes around Smells Like Teen Spirit I started hearing moshing....

enough speculating, regardless of what music biz identity you're concealing with that strangely appealing cartoon user pic I am sure we can all learn a lot from your experience and I hope to hear more from you!

oh yeah, same 24" scale as mustang

I haven't used the CR3s but I actively disliked the powered Mackie 2 ways I HAVE used (a more expensive model). I thought they sounded wildly inaccurate in the midrange even in a well treated room and the abss was hyped in a weird way with a resonance between 80 and 100hz where I really need flatter sound to separate kick and bass.... but I am used to NS10s and old passive Tannoys. For recording they will be passable as its less critical to have monitors that you feel comfortable with than when one is mixing... but if you DO wanna mix a record on them get another pair of monitors that sound different to balance what you're missing from the mackies by periodically switching monitors.

YMMV

it crossed my mind for a sec too

id say a mustang and not the new ones either the squire vintage modified or an original spec, jag maybe a little big for you frame wise

is the jag really that bulky? I guess the body is pretty large being pretty much a JM with a shortscale neck.... I know that to me a mustang feels like a toy.... in a good way, but a toy nonetheless, microscopical little body 'n neck

y'rwelcome Mr Secret-identity

no offense, its just the incognito thing is really amusing... to me, a little notoriety in pro music circles seems like a high class problem.

you're right, since about 2011 its been a proliferation of Poltergeist and Amityville lost souls and demons... I wonder what that says about these post-millennials coming up like Narcist?

get a jaguar?

I also think a generations choice of movie monster speaks to the mood of those young people... like when Iw as a little boy in the 80s it was slasher movie mosnters, Jason, Freddie.... and they were revenge driven killers usually (other than Michael Myers who is a senseless psycho in the Norman Bates tradition, but he's really a 70s character).... then in the 90s it went full vampire when Iw as groing up and that hung on for longer than those Jason type baddies.... then slowly I watched the enxt generation graduating and going to college or getting jobs, starting bands whatever and I started hearing about Zombie apocalypse all the time and pop-culture from movie studios to humorists responded and the vampire was relegated to twilight and movies like 39 days of night where they are more medieval in character and zombie-ish. Its interesting. I wonder what the generation in highschool now will contribute to monster-movie culture?

welcome, great 1st review

I didn't know people actually talked about this stuff other than my one crazy friend who collects guns and is such a head-in-the-clouds libertarian I can't talk to him anymore. I thought he was part of a really small minority of loonies...

I don't use the one knob stuff.... I am suspicious of the mystery controls on the signature plugins too.... I have been trying to gear myself up to try the Maroquin, Puig and Mazerati plugs but I dunno.... so far I have only sued the Butch Vig Vocal with the steampunk GUI and the Chris Lord Alge stuff that just clones specific pieces from his rig -- oh, and I sue the Puig-child Fairchild emulation as it sounds better to me than most other farichild plugins... for the msot part the waves plugs I use the most are the tried and true ones that aren't emulating a specific piece of gear like the renaissance compressor and reverb, maxxbass, L1, L2, trueverb, sometimes the crazy flange/phase one, linear phase EQ sometimes, the multiband compressor is really handy and easier to dial in than a lot of my other multis... I do often use the CLA2A because its in the ballpark and once in a blue I'll use a blue line 1176 plugin, but usually for fet compression I use the presonus eureka strip and print, a lot of times while tracking! I just commit to a heavy 1176 type squash and do that. Occassionally I do a 1073 EQ emulation or just need some simulated transformer color for style and use that.... I'll occasionally dicker around with the REDD and TGA abbey road emulations but I rarely use them for anything. They sound hyped and cool and all, but they don't fulfill a musical role making the isnturuments play together.... they're justs tylizing.

its funny, one thing I swear by is this freeware VST DBX 160 clone:

http://xclusive-audio.com/free-vst-dbx-165a-compressor-by-sixty-five/

I use this on tons of inserts because at moderate settings it responds like a 160 and its easier to use one of these versus plugging up a 3630 and running a track through another pass of AD/DA.... it has a parallel blend knob so I'm happy because generally during mixing there's a specific way I use VCA channel compressors and its gotta be parallel tog et the sound I'm after

I really like this bundle of bread and butter VSTs that are freeware: https://www.meldaproduction.com/MFreeEffectsBundle apart from their excellent comb filter that I use now as much as the old Steinberg comb? its all basic stuff, but it has wonderful host sync and stuff so you can lock everything to host tempo including dynamics processors without doing and math and the comb and pitch effects can be tuned with a piano roll inside the plugin so you can really dial in musical frequencies for filter cutoffs and stuff. The limiter is really exceptional. It responds like the L1, but it has parallel built in as wella s a complex harmonics engine that gives it a little character. I was always a fan of using L1 or L2 in parallel but its a bear in the box avoiding phase problems between the processed and unprocessed busses... anyway, I like this gadget. I also am really find of Toky Dawn Research. I sue Slick EQ like crazy and love their parallel feedback compressor. If you really know compressors this is a great plugin.... if you're used to just whacking a setting on some hardware by ear with no logic to how you dial that in? well, not for you, TDR's compressor can sound really bad, but with care it sounds hella good. I mean, I ostly use the same stuff as everyone in the box. Soundtoys echoboy gets used. Altiverb...

people on here are always asking me about plugins and stuff but I don't do anything that special. Its a mix of (often free) digital tools with super specific controls that suit my way of doing things, some good emulations of my favorite hardware and soemtiems just shit that came with the DAW. I'm not real picky unless something just isn't sounding as good as it did when I was recording it. I think maybe I use them differently than a lot of people on EB? I dunno, I am pretty sure I have a different philosophy on whena dn why I reach for a compressor or limiter and how I might employ it... and that's definitely going to cause me to use different tools than a lot of people whoa re like "its gotta be an SSL G bus compressor emulation because EVERYONE mixes into the buss compressor man! and I have to have 20 isntances of 1176 emulation on the channels because its the standard and and and..." No, I'm not like that. I want something tht will excel in that particular application and I don't care what its supposed to be like, often tis better to sue something that has no 'character' and just has really fine, control of every parameter so you can get it just right.

I shouldn't have said that... deleted

being youngish you are more akin to zombies whereas me and my asshole (bitch-ass?) wife were more of the gen ex vampire age bracket.

righto... there was just one track on your soundcloud that reminded me of being like 19 or 20 and listening to The Process for the first time... "spikey hard edged....."

heya.... found you on soundcloud

early electro-industrial fan?

I dunno, my wife and I both liked walking dead in its original comic form but we watched most fo season 1 and decided it sucked on TV and that we were just sick of Zombies anyway.

I thought by UG you meant ultimate guitar

I woudla thought Og would be more popular than Ug for some reason, but Og and Ug both oughta play a Jr! they make the esquire look downright refined

that sounds awesome. thanks for the advice.

nothing against the P90, just saying that even with heavy duty shielding its not a practical stage guitar unless you are a big touring act with your own FOH guy who can minimize the hum at the desk... and its not as distinctive as all that! I mean, the thing is, in pickups thr output is more what connects to an audience member than the tone.... hot pickups do a certain thing that says modern rock and low output types tend to say 'old-school' to the audience and that's about as much as they're getting, the rest is for YOU and is more a matter of how you want to connect with your amp and speaker(s) regardless of settings... I find certain speakers are all about hot pickups even for clean sounds while other drivers really don't want to handle a thick, modern pickup design but they fatten up weedy old designs

for recording purposes I tend to have a little bit of everything transducer (pickups and speakers are both transducers) I'm into at any given moment.... different magnets, different wire, different cone resonant frequencies, different outputs and DCR ratings and different efficiencies and different complimentary enclosures... it enver hurts to have some wiggle room with your signature sound and maybe be able to create a sound that 180 degrees from what your signature is.... but it takes years of collecting and curating to get here

I'm not sure I get that Terry

maybe the goodreviews are from culinary masochists.... they think they deserve bad kung pao and it turns them on a little when they're gagging before they even swallow (see? that works for other perversions too, what a great line)

if you're ever in Nashville or Chicago go play some vintage gibsons at Gruhns or CMI and wake up to what the humbucker really sounded like... also remember the gretsch and guild made their own hum cancelling pickups that work under the same principles as a Gibson but sound completely different. wanna talk low output pickups? a filtertron is below a vntage fender strat pickup, open and airy, super spanky, tons of punch with just a little low end compression character from the 2 coils summing.

if you dn't mind people assuming its stolen then by all means.... we see sanded off MIM serials all the time in the states.... sanded off by thieves to avoid Ebay or Pawn stores running the serial against the USA's master-guitar-theft lsit... you also see it on illegal copies, not so much sanded off but the copy decal a weird shape like they zerozed a real decal and just whited out the serial...

anyway, if tis bothering you and you don't want to sell it ever then sand it.... make it smoooooth

I like to call a Jr a 'caveman guitar'

there are so many versions of a single or humbucker that you are making a ridiculous generalization... I used to like 'the clarity of single coils' but I just hadn't heard enough pickups yet! I was pigheaded about humbuckers until I tried a friend's 61 SG reissue (believe it or not he won a GC drawing for it in a contest sponsored by the band wolfmorther, LOL). That changed my tune a little and I started to branch out accepting that none of the gibsons I owned had humbuckers I liked in them but that there were definitely buckers I like out there and that there are definitely singles that sound like dogshit for me.

Play more guitars, more expensive guitars...

gotta like a guy who jumps from videogame music to jazz and soul! serlcome, err veajdown.... err, WELCOME

hrrrm there you go