jimmarchi1's forum posts 8022

that guy with the lute sure can shred

I'm old, when I was a kid everyone's first songs were Nirvana, specifically 'teen spirit' and 'about a girl.' Some people would bust out with 'and nothing else matters' first...

cool, if you make any useful stuff post it to the forum so we can all try it out! Hint, the world needs a 4+ band comb filter VST with discreet LFOs to sweep the frequency of each band (or better still a synth with a couple oscillators, osc sync, PWM, RM and maybe FM with a comb filter section before the amp envelope where the filters can track any of the LFOs or the ADSR generator). You know, for swirly, screechy pad treatments/creation that go beyond flanging, phasing and what you can do with typical subtractive filtering.

Or maybe a 3 pole filter plugin that does LP, BP and HP and volume envelope tracking like an envelope filter guitar pedal.... the 18dB per octave filter gets no love, I don't know why

please refrain from making yet another compressor or simple subtractive synth though.... just some thoughts... I always enjoy me some plugins that do things that no readily available hardware can handle!

this may also help you out: http://www.linear.com/designtools/software/

I see on your profile you build some of your simple pieces of kit, I build my own cables as well though most of my other projects are confined to repairs (though I have built a few guitar pedals from scratch). You mention a DI box, did you build a passive one or an active phantom power one?

You got a soundcloud?

I believe you, who would lie about that twice? Did you get a copy of synthedit to play with?

you sure? I as udner the impression American standard teles are swamp ash exclusively and have been since the 90s. Maybe I am wrong, but....

you and Narcy should really not talk to eachother, so Narcy, I am directing this at you...

you know if you disagree with Lux in the forum its just going to escalate and nothing will get settled, but every month or so ya just gotta pick a fight with the man. You know hes not going to back down and you know you'll eventually offend him. Don't be hard-headed like my ex, she just died, so you see where that gets you.

Philadelphia PA, USA.... born and raised

check out 'synthedit' as an intro to creating VSTi's, http://www.synthedit.com/... you don't actually need to know any programming languages to build a basic softsynth in synthedit, not sure about similar applications for creating insert effects...

are you one of the lords with A WIG ON?

https://www.thebureauinvestigates.com/wp-content/uploads/2012/06/Queens-SPeech-2012-FlickrUK-Parliament.jpg

"some of the music"

exactly, your lordship

at least if we're any good... Gilmour's one of those standout guys who can be playing a cigar box uke and sound like himself

hahaha, but half of it is his delicate touch.. he has wonderful dynamics on both picking and fretting hands! I am not a huge Floyd fan, but I appreciate how gilmur bent the blues and soul to flyd's esoteric purposes while still managing to appeal to the mainstream and I think its less gear than a distinctive voicing stemming from his relationship to the strings... the effects are important but secondary to his great coordination between his right and left hand viz-a-viz fretting and picking/strumming pressure in a myriad of combinations of pressure, attack and release

yes and no... the evolution of the 335 is as convoluted as the les paul.... the 58 starts without neck binding and ends bound but always has dots, however it has a shallow neck set and a unque configuration of top and back plies.... the early 59 has a slightly less shallow neck angle and the 58 plywood formula but ends with the classic 5 ply maple formula and the modern heavy neck set angle... in 60 the neck slims from a baseball bat a bit, in 61 natural is discontinued in favor of cherry, in 62 the neck gets slimmer and if I recall correctly small block inlays come in... also, every year the PAFs differ in magnet grade... thing stay pretty consistent until mid 64 and then it goes haywire

anything labeled a 'dot' will at the least have a shallower neck angle, fat neck profile and A2 or A4 PAFs instead of A5 than what is considered standard 335 spec.... the top and back construction may differ as well and if they want to get really accurate there may be bridge and tailpiece construction and material differences from classic early 60s spec, the early 335s are a rule unto themselves and quite collectable though not for everyone... 60 to 64 is the classic era, 59 is the magic year for collectors

I wasn't going to do it, but the 303 came out today and released her burbling fury on your remix

if you wanna get picky, here's the site:

http://www.gilmourish.com/

but while the univibe was meant to simulate a leslie and is technically a phaser in 'coprus mixing' mode it doesn't sound like either, nothing sounds like a rotating speaker cab be it a true leslie modded for guitar, a fender vibratone, maestro rover or Yamaha... I think that live gimour has the rotating speakers rotating all the time but being in Pink Floyd he just has to layer up the modulation effects out front of his hiwatts sometimes too.... in the studio is anyone's guess...

in all seriousness I seem to remember watching a blues cube demo where they hit it with some ODs from the boring old TS9 to some boutique fancy pants stuff and if the audio was to be trusted it behaved enough like a tube amp to satisfy anyone not doing an AB comparison....

I've been thinking of getting one myself... especially because it accepts midi commands

"I think there's a great support in this industry for those who want to believe that techno is dance music, because the majority of the people in it now are not musicians. They came into this world wanting to be a DJ, and don’t know anything other than that.

Most techno DJs from my generation (myself included) were musicians first... " -Jeff Mills, Underground Resistance

so I am a musician first... I can DJ, have spun my share of sets... but I don't even own decks anymore and haven't spun at all outside of the odd house party since 2005, but I periodically dust off my synths and produce electronic music, though its not always for dancing -- if I never spin again I will have no regrets, but I cannot imagine my life without electronic music

how many of you began as DJs and how many of you began as musicians? How many of you are sound scientists and how many reach for presets????

you can't go wrong with a phase 90.... old small stones sound markedly better than new ones for some reason, but the bad stone reissue sounds pretty good even though its a completely different circuit than the small stone, so if you want the EHX sound I recommend bad stone unless you can find a vintage small stone....

believe it or not the old DOD phasors kick serious ass, even the ones from the 90s with the cheesey plastic switch and most of them can be had cheaply... Boss's super hasor comes with a bunch of different LFO shapes rather than just triangle so it can be pretty rhythmic, but I enver thought it sounded special

if you can lay hands on a mu-tron or ADA phaser from the 70s, those units are really musical and versatile

there aren't any mass market univibe clones that really sound right, but even the Dunlop one gets close enough for someone who ahs never used an old shin-ei... personally I would just get a Line6 m5 because line 6's univibe simulatin sounds nicer than a lot of affordable clones and the m5 comes with a million other simulations that might be handy

winter is coming

a univibe is just a specialized, unversatile phasor with a vibrato mode... it just seems different being very dark and throbby because it utilizes photocells to create the phasing in 'chorus' mode versus other designs that use op amps or OTA's made from multiple FETs both of which designs are inherently more hifi than LDR circuitry... the voice of each phasor is partially determined by the phasing 'engine' and LFO circuitry, the other part is the preamp and how many stages of phasing....

it pains me to say this, but for most people's purposes a line6 modulation pedal or that m5 will cover a lot of wobbly bases on the cheap and in the case of the M series will give you some other passable effect simulations for less than a vintage or boutique 1 trick pony.... if you wanna get fancy you can spend a fortune collecting stuff.... personally I always liked the mid 70s small stone I owned for 15 years... simple to dial in and capable of all sorts of sounds with a great, open midrange.... not very univibey though... and I still sold it for $250.... because phasing is cheesey

oh, relying on the text book is the bomb... one quick night of reading.... they have homework in college now apart from term papers and such? next you'll tell me your professor takes attendance every day! that's rough if so

that's an aesthetic question

you can play it without a phasor if you can play it without a vintage hiwatt DR103.... make it your own, Mark

Its growing and growing.... mostly your sounds, just 2 tracks of my hardware so far.

no, becaue a wah is a steep bandpass filter while a phaser doubles your signal and varies the phase shift oten via minute delay changes and many accentuate it with a notch filter that sweeps along with the LFO that adjusts phase/delay. Plus phasers do this over abd over, the more stges of phasing the more delayed signals with differing phase shift and filtering. Phase, flange and chorus are all related. Get a book.

Wah is strictly a filtering effect invented by the Thomas Organ Company during their attempts to replicate the ound of an all tube UK vox amp via olid state circuitry. They failed, by the way, but their variable middboost circuitry went in a pedal known as the vox clyde McCoy that later morphed into the cy baby and vox king wah and was copied and altered by Gibson as the maestro boomerang (shaft theme) and by morely (optical circuit, stomp proof but different) and colorsound (everything else not voxy, morely and not shafty) until the 80s when the classic crybaby became a consistent product.

I think Mr Rice plays the guitar.... looks like a guitar to me...

so far:

tube amps are DIFFERENT! do you really have to study? weren't you in class listening?

but you have a handmade tube amp

awww man, I got your track jumpin' this week... I went crazy with your deep bass sound, sampled a one hit and tunes it to middle C, then I trimmed a tiny loop out of it to create an oscillator shape to double the part in the fruityloops 3xosc plugin to add detune, sub oscillator and analog modulation... I might make oscillator shapes out of more of your sounds, I've never tried this in a remix before and its really cool. I've managed to keep your essential timbre but reshape the envelopes to suit my purposes and allow me to play any part I want without the restrictions of sampled hits and loops I usually butt heads against when remixing. I foresee myself making some wavetables as I move on...

I like your synthetic drum sounds too, they've been fun to loop and mangle...

wait'll you hear how much texture I added to your pads though... LFO controlled formant filters, ring modulation, tuned comb filtering and even a little proco rat distortion....

aww fun

or maybe you are Shia, Matt and Roman... that would explain why Roman got deported, it got too hard to keep up with Muse, movies, moving marshall stacks AND maintaining equipboard.... the deportation was a convenient cover for jettisoning one of your personas, wasn't it, ya shape shifting summbitch!?!

you look like this Russian guy named Roman who used to roadie for me... he ahd a deformed ear because of Chernobyl radiation absorbed in utero.... his mom was pregnant living in the next town over, either that or he was just fucking with me

I don't think so, they all vary a lot but the final book is way different than the series, no, we all hate her.

Valar Dohaeris

Boom,

read the books while you wait for the next season, man... they are different and equally great. And I don't usually go in for this shit. But RR Martin is the man.

I'll talk GOT any time, I am a long time fan... I guessed John was Rhaegar and Lyanna's love child in season 2.

here's a simple minor I-V-IV-V progression I am fond of that has chord extensions that may suit you:

Em9 Bm11add9 Am6 Bm11

/ / / / / / / / / / / / / / / /

played like this:

Em9 (0)7577(0)

Bm11add9: 7X06X0

Am6: 5X455X or (0)045X0

Bm11: 7X067(7)

you can alt like this if you wanna arpeggiate with a plethora of ringing plain string accents:

Em9: 054000 or 024(0)30 or 024(0)33

E7sus/Bm11add9: 020230/X20230

Am6: X02012

Bm11 (abbreviated): X20202 or X20203

the parenthesis indicate notes you may wish to mute when strumming rather than arpeggiating, when key changing these positions all open notes become mutes (X) and other potential open notes may present themselves depending on the key selected... in the key of Em you will want to consider jazziness versus rockin' which is the decision between a degree of euphony (muting notes that are in parenthesis) versus polyphony (sounding parenthetical notes)... in jazz we tend to focus on euphonic rhythms even at the expense of voicing every note in a chord. A tight jazz line might be voiced almost entirely across ADGB while voicing the Es only as accents. Rather than creating dynamic accents by changing your attack you can create accents by voicing additional notes on strings that are muted through most of he line or by briefly expanding a voicing from 4 notes to 5 or even 6 even if those notes represent octaves of already voiced notes. So in the example, all 4 chords can be expressed sufficiently using only 4 notes, but you may wish to increase the dynamic by voicing one or two of the muted notes on certain beats.... the human ear is really drawn to euphony, but a euphonic line can become more interesting when it expands for a beat or two. Follow?

taking stuff you are familiar with and adding extensions can be a good way to generate the denser harmonies you need to get 'far out' without going all the way into jazz or classical ideas that may sound a little too polished for psychadelia... but you will want to find tight voicings like this rather than just plop the extensions on the plain strings with a pinky because that's not really the psychedelic sound if you listen to the classic Austin, UK and sanfran guys

first one's the purple haze chord, usually refered to as E (#9), its kind've a dominant 7th as well as a minor 7th having both a full 3rd and a flatted minor third and octave up. It was also famously used by George Harrison in the Beatle's song "Taxman" (he lifted it from the 60s Batman TV show theme he as parodying) and as a passing tone on piano by Richard Wright of Pink Floyd in "Breathe" and was commonly used that way in jazz and by some of the better tin pan alley songwrighters (Wright lifted it from a Miles Davis number, but I think he ehard the changes wrong because I have enver identified the tune he took it from and I am a big Davis fan).

Its a powerful harmonic device because of the tension of major and minor thirds clashing but its generally frowned on to lean on it as a major building block in a rock guitar part these days since it featured so prominently in 2 important songs of the 60s. It carries its own context because of the famous songs its in (hence why you think f it as psychedelic, Hendrix and Floyd?).

the 2nd chord is an A7add9, you really oughta mute the low string on this one for a tighter voicing, but if you want a note below the root on the 1st string, you can use that A or you can also do a little clever barring up top and reach down with your index finger to voice the C# that would be available with your barre finger in the C form A this is based on. That major 3rd below and directly above the root will be very helpful in the key of E major as C# is the relative minor, right?

This chord is a pretty common one in all types of music combining the flexibility of a suspended 2nd with the modality of the good ol dominant 7 from the blues. I might whip one of these out in one out of every 2 guitar lines I write, as its a harmonic idea for any occasion. It might be buried in the part as a passing tone or just blip in a complex arpeggiation where the octave root just quickly hops up to 9 before changing chords from dom7 to maybe the iv chord, but the 7add9 is one of those 'everyday playing chords' we should all know. This chord is particularly contextual. Its really an emotionally neutral arrangement of notes.

I am not sure a harmony can inherently be psychedelic. I am not even sure a chord progression can be inherently psychedelic. But arpeggiating an extended chord (suspendeds, augmneteds, major and minor 7s etc) with an unusual and close voicing will generally sound psychedelic on guitar and keys with the right sound.

Everything in music is contextual. Change the context of the melodic and/or harmonic content of Beethoven's immortal 9th and all the sudden you will have Ludwig Van's Trance Explosion! I dare say you will figure it all out and write your own 60s psychedelic masterpiece.

also, the tone controls don't work the way you think, the top boost circuit is really unique even though it is similar to tweed fender and marshall in basic layout the way the bass control is wired makes the 2 controls more interactive than any other similar design. For a powerfully midrangey sound turn both controls all the way down and then make minor adjustmments to one or the other if the sound is too dark or too bright

some of it is also that you aren't used to tube amps, most of them have a mid scoop built into the tone controls, its just centered differently on different brands or even different eras from different brands like 50s versus 60s fender, but its there... vox has a very unique tone control voicing that can be offputting at first, but once yous tart playing her louder and/or in a band setting you will appreciate how she cuts through without getting abrasive. Tube amps also change response pretty substantially the more you turn them up. She's not going to do the Fender sound, but a fender can't do vox either.

yes, but he DID bother to introduce himself and he DOES play the bass, so.... how's the vox working out?

why don't post the Instagram photo here:

http://equipboard.com/forums/general/topics/identifying-the-gear

its an ongoing thread where the regulars help eachother figure out obscure gear models to complete tricky pro pages