jimmarchi1's forum posts 8022

You must have been popular in high school.

I was surprisingly well-liked by most kids particularly considering how weird and arty I was growing up, but it always felt like a dubious honor. It was the 90s, everyone was really sarcastic and being in a band, throwing and going to warehouse parties and making bad dance music in your bedroom became very fashionable by the time I graduated. I haven't given highschool more than a passing thought in years, even when I play music with friends from back then. Thanks for the memories, bro. Oh, wait, you were trying to just one up my snide comment about my own people, guitarists...

yep, which is isolation.. but everything he mentioned is room treatment, hence why I'm trying to point out the difference getting true isolation is difficult and expensive which is my point and also leads back to what you say here.. real studios cost money to build for a reason

you can keep the sound in fine for his purposes with treatments and maybe just a riser to isolate guitar amps from the floor... what, did you just buy your first cope of "the master handbook of acoustics" ?

my hair is a bird, your point is irrelevant, this is a necro thread anyway, Nick's room is working fine for him, no neighbor issues

"all you really need to make a record is some magnetic tape and a microphone and maybe, just maybe, some bad reverb"

he was just talking about keeping the sound from getting out, dude

in my experience its so much easier to book studio time at a quality, purpose built facility to do anything beyond demoing even in this age of readily available and cheap digial recording equipment.... although tracking in a space built for another purpose but with good acoustics can also be fun sometimes, I once tracked ana capella group in a colonial era stone church with really positive results, but that was a long time ago.... not sure if I would try to track any pop/rock music in that space... anyway

I used to be somewhat better at it, but I stopped writing them all the time and now I am always confronted with a profound writer's block when it gets to that stage

Sounds brilliant to me! Nothing beats the twang of a tele so look forward to hearing that and with the flange of course :D

the tele in question is really twangy too.... '59/60 copy, really spanky in the middle position when I play with my fingers

thanks for listening.... I never know when to keep going with stuff on the off occasion I have a song idea because I barely play anymore and really bite the big one technique wise now as a writer and performer

now for lyrics, so much to write about, so hard to execute

warts and all demo of the song I wrote while I was yacking at you 2.... it'll be a tele and flanged when done.... might need a middle 8... and of course lyrics

Yeah I definitely prefer phase to flange any day of the week. I'm torn between phase 90, or a boss ph3 (maybe a bf3). See how much I can trade a bunch if crap I have in for

I dunno, I amm all about 80s flangers again... I was just looking at bf2 pedals on reverb, I might buy one and record a record with a different flanger into each ac30 set all clean or maybe a vox and a fender tremolux with flange and trem.... just whacky modulation everywhere

They're still made, can get them from a few places around me for £120 never tried a smallstone or even heard one before https://www.nevadamusic.co.uk/p/JD-M107/effects/dunlop/mxr-m107-phase-100

the small stone is one of my faves, the new ones don't sound quite as good as the 1st and 2nd gen 70s units, but they get really close... if the phase90 is the best 1 knob phaser for drive sounds then the smallstone is the best 1 knobber for cleans bar none

I kinda regret selling my 70s small stone a few years ago, but I almost never used it anymore. I have a sneaking suspicion I paid a bill with the proceeds, or maybe after the bills were paid I was broke and I spent the money on beer and smokes waiting to get paid in a few days....

I can imagine

but yeah, two spekers of the same impedance yields half the impedance in parallel and double in series, there ya go

I'll have to try finding some if I can. Maybe they are voiced slightly differently to Marshall's specifications? She made you sell the amp? That sucks ass!

its a long story that also involves a 59 tweed Gibson titan, a 62 supro dual tone, a recent LP special, Cadillac green duo jet and a '66 bandmaster head and cab that're all gone now as well as tons of dental work that just needed to be redone after we split because she won't take care of her teeth, an attenuator thrown at my head, infidelity she keeps on denying and a child custody battle.... I have a lot of stuff though, just less than I did when I got married and I no longer have a shred of a music career

but no one can make you do anything but you :-) if you don't know when to throw in the towel then you have no one but yourself to blame

Definitely. Make a SoundCloud for it as well, what songs are you thinking of?

I'm just going to use some unused tunes from my own writing and maybe knock off a few extras today... kinda kicked out halfa guitarline in A minor already and another one with a real cool Bb6add9 to Am7 change but that's just chords and melody, no slickness yet.... maybe if I lay it on piano....

maybe I'll cover a gene Vincent tune or something similarly obscure and unflangey

V30s cost £85 new I think

no kiddin, I used to have a bunch in 8 and 16 sitting around like stale bread til I traded them for some gadget or other... you should invest I some marshall branded 80s vintage 30s, they are way better sounding.... everything you like from the v30 but better across the board, I don't know why... I wish I had stolen the 8 ohm one out of my marshall studio15 before I sold it.... or better yet I wish I had kept that amp, it was nice... fucking ex-wives

here's an ironic term: brilliant guitarist

since reading this I decided I am going to record an album with a couple f my muso buddies of pop songs with tons of flanged guitar just to stick it to the haters.... I'll arpeggiate everything just to annoy people

I also thought they sounded pretty punchy when I've heard them and used them etc. I really like them haha, I need to compare them to Seventy 80's one day though. Theres a video on youtube comparing them but the V30s don't sound great in that video compared to other videos and how they sound when I've used them. I'll have to take a look at the H30 later on and see what I think

v30s are hard to record or at least I ave always found them to be... I recorded an album with primarily an old marshall cab I liked with 2 old greenbacks and 2 v30s and I close miced the best sounding greenie and just let the v30s come up in the room mics.... they need airspace to 'bloom' so to speak, upclose they are very 1 dimensional

I've never used a seventy80, its a low end celestion right? like the classic leads maybe?

Awesome, I quite like Greenbacks but my favourite speakers are by far Vintage 30s followed by Seventy 80's. I'd like to have one of each in a 212 combo maybe one day but not sure if I would jut get a set of V30s instead. I love having a lot of mids. I like my guitar tone to also be quite punchy and in your face haha.

there are greenbacks and greenbacks, I find the new ones to be a little tizzy sounding in some applications and the abss boost when they start to distort on their own can be irritating in closed back cabs....

a pair of V30 speakers can be overbearingly upper-midrangey, also I would never call the V30 punchy, it is one of the most compressed sounding ceramic speakers I have ever heard.... you would probably really like a lead cone H30 paired with a V30 wired in parallel to control the low end and tame some spikey treble

What speakers do you like?

oh this one.... I mostly play 12s anymore though I have done 15s and used to have 2 old marshall 4x10 cabs too... I like celestion blue speakers, OLD G12M greenbacks -- like 70s or preferably older with pulsonic cones, G12S and G12L speakers from the same era, JBL speakers for a dark and clean tone (particularly the D and K series alnico speakers), 60s ceramic jensens (particularly an C12PS labeled speakers with bass cones like the ones produced exclusively for Supro bass cabs in the mid 60s), the lower wattage fane speakers with cast frames, "Marshall Vintage" branded V30s from '85ish (I swear they changed this speaker for the worse when they released it as a replacement option), early 80s G12M65 speaker are nice for hard rock sometimes though they changed this speaker design yearly and every set of them you play is a bit different, I like really early ones or really late ones usually... and my favorite all arounder? any G12H type speaker with a 55hz bass cone (bang for buck I really dig the current production WGS Reaper55hz and have been using one in my recent ac30 for the last year or so paired with a blue to reproduce more wound string chugging and to give me a bit more uncompressed ceramic punch)

If you were asking me about speaker preferences to help you with some shopping I have to close by saying that the speaker in your amp is the last tone filter before the sound hits your ear and is arguably the most important 'effect' you can invest in, so don't be cheap.... but also its highly personal based on your pickups, playing style, effects and amp. There are classic pairings for certain tones, but you can always mix and match say a fender with some greenbacks to get a more distinctive sound! A lot of classic tones were achieved by people pairing vintage amps with vintage cabs of another brand because those were the pieces they could afford starting out or because they blew the stock speakers out of a combo and just harvested whatever they could from another cab before show time (the edge has a Jensen in his main ac30 because one of the celestions blew out and the Jensen was all that he could get in alnico as a replacement at the time and keith Richards swears by celestions in his high power tweed twins becaue they never blow out).

Thanks for your help. I never knew the old fenders was overspec, pretty awesome. I'd love to get a '65 Fender twin reverb reissue one day but they are so expensive haha.

yeah, sure, I try to spread the knowledge... current twins aren't a knock on an old twin, the transformers are puny compared to the old Triads... if you can live without reverb a fender dual showman is a twin in a head with no reverb and they are still relatively affordable... I toured with one for years, a real loud, clean workhorse.... they sound good turned full up too, I used a lot of blaring showman for overdriven rhythms on many records over the years... all in all a good investment if you like steely twang, thumping bass and deafening your audience at 3... for my buck in larger fenders the best blackfaced amps are the blackface super reverb, pro reverb, bandmaster and tremolux, though these days a Princeton or Deluxe is plenty loud and really sweeter, just not 'big' sounding unless you use an extension cab to help them along... anyway, I wish fender would stop reissuing bastardized versions of their famous amps, their modern designs aren't bad at all for what they are and they should focus on that because they make a lot of people happy with those amps...

Wish there was more on it on google really, maybe there is and i'm just not looking hard enough? What speakers do you like? How does wiring in parallel half the impedance of the speakers?

google search "ohm's law"... but it should be sufficient for you to know that parallel is half impedance and the fender 2 speaker sound while series is double the impedance and yields a voxy 2 speaker sound (the speakers behave differently in different wiring configurations, look that up too if you care, its called speaker damping)

They're both around 40. They say there isn't particularly any rhythm or beat going on, it's just noise

I would never say that any music is 'just noise' -- the subway makes plain old noise, you know

but as far as most of the white stripes stuff goes I would agree with them.... I think of it as kinks + zeppelin - groove = white stripes, though there are a few exceptions.... being only a bit older than me I can get where your folks are coming from, they lived through the whole rave thing just like I did, came up on post punk bands with a driving, danceable beat too... there was a lot more of a dance culture all the time when I was a kid then there is now, at least in the states I mean, that always ran parallel to heavy music, and punk rock here was about flailing around and 'dancing' whereas now kids justs tand around the band going "oh, I think he missed a note there" like it even matters in hardcore punk

most American music forms are actually dance music, we just forgot the steps that went with them

two 16ohm speaker wired in parallel will yield an 8 hm load which will be a perfect match for your amp

never plug a tube amp into an impedance mismatch unless you fancy purchasing a new output transformer.... you will hear of old guys mismatching speaker loads and even the 3x10 5E7 bandmaster having a factory impedance mismatch, but this is talk for 50s and 60s fender amps that have very overspec output iron (yes I have done this, it changes the amp response a bit, its not worth endangering your vintage fender if you have one)... as robust as the haddon, radiospares, partridge and early drake transformers in 60s and 70s UK amps are they are not overspec in the amps they come in as the british amps produce a lot of power compared to a similarly rated fender of the era (and in the case of 100 waters, there are no true 100 or more watt vintage fenders until late silverface, whereas a 100 watt marshall on the edge of breakup is probably pushing 120 in reality... you won't hear much of a volume difference as SPL is measured in a reverse log and it takes a good 4 times wattage to audibly double volume, but the transformer and speakers know they are being pummeled harder)

anyway, he should load a 2x12 in parallel with the pair of v30s he has, a pair of 8s will never match as it will yield 4ohm in parallel and 16ohms in series.... v30 speakers are so ubiquitous though, he could probably trade somebody his 16 for an 8 if he just wants a single 8ohmer... I have a pile of recent greenbacks I am sick of that he could just have if he lived in the USA, lol

oh, here's a really guilty pleasure because its just so uncool:

BILLY JOEL

Just wanna point out that irn bru is a soft drink like coke, pepsi etc haha but in Britain a lot of people love it

I just assumed it was booze. Of course we wouldn't have a softdrink that wasn't American made (or at least owned by US company), coke and pepsi pretty much own this country and would have a shipment of a UK soft drink heaved into the sea the minute the ship docked, Sons of Liberty style

come to think of it I feel like analog mike made white's stage board for white stripes so look on analogman.com for more info

I personally prefer the white stripes, and his solo stuff. Jack White is, was, and always will be one of my favourite musicians. I really love the trashy-garage-riffy bluesy-punky rock (That's also quite hard to define) he produces. My parents don't...

how old is your dad?

Turns out I accidentally wrote Whole Lotta Love.

I hate when that happens, I accidentally let a song slip onto an actual album release without realizing the verse riff was more or less stolen from one of my favorite 90s bands... it wasn't lawsuit worthy, not that similar, but close enough for a few people to comment that I had stolen it, which I really didn't mean to... at the time I thought I was knocking off an idea of a cool way to use wound string harmonics in drop D from a recent verruca salt release, but in my huge effort to write a non-verucasalt riff around the distorted harmonics I accidentally knocked off a big chunk of a better known riff... the guitar playing on that record was hailed in my local music press as highly original and unique, so when a few friends and colleagues noticed my gaff I was really put out and felt like I didn't deserve the only spot of good press I ever got when I played professionally

it all seems really foolish now because I think we only sold like 100 copies of that record before splitting up in a cloud of label and management trouble... no one cares and I don't know why I am sharing this, I'll fuck off now

Also whole lotta love, is good but it's not the best, what would you say the best riff of all time is?

anything by Bo Didley with that African conga rhythm on guitar.... primal, iconic and influential and one only needs to know a single chord in order to start writing with that... plus the 'chord' part of whole lotta love riff uses that basic rhythm idea too.... the tendrils of early Americana reach deep into every rocker's psyche, particularly you limeys

I was brought up on the smiths, and it seems to be the total opposite here. If you like the smiths you are stereotyped as pretentious, and middle class.

same here in America... I'm 35 and when I was a little kid the Smiths didn't really break here, they got big in the USA after they broke up right when I was coming of age so to speak... I really identified with Johnny Marr's guitar playing more than Morrisey's lyrics that all the cool kids would snipe about. For me having come up on the cure, the police and all that heavily chorused and flanged clean 80s stuff the smiths sound was a familiar antidote to grunge and shoegaze (both of which I quite liked at the time and still have a soft spot for)... as a cure and Bauhaus fan (as well as a closet skinny puppy, 242 and ministry fan) I found myself hanging out in the goth scene a lot in the mid 90s and all the goth kids who wouldn't dream of going to a rave (especially all the girls I dated back then) loved the smiths and it turned me off them for the longest time, I don't know why, seems silly now... when you are young you go through this phase of wanting everything you listen to to sound unbelievably current, and then you can't find anything current you like and that's the day you realize your old.... next thing you know they are calling your band retro

I love the smiths music, but frankly Morrisey's a massive git, and Johnny Marr isn't far off.

I don't know how he behaves when he's home, but he's very intelligent, self-effacing and gracious when hes visiting the states (marr, never met morrisey), then again he really loves blackface fender amps and I can talk about vintage amps all day with guys who know and when you get into those conversations with famous types the fame just drips away and their passion for all things guitar takes over

I was just wondering the other day; do you American's have Irn Bru?

nope, all of our malt beverages designed to get low income people really drunk come in big cans or the once ubiquitous 40oz of hip hop fame... these days the cool thing seems to be craft beers in enormous bottles, though I don't know wh buys them, that's just what I see where I shop...

I suppose I am a bit of a stereotypical smiths fan since I was always more likely to drink French wine right out of the bottle than malt liquor or cheap beer when I was trying to get hammered without reaching for the bourbon... god its been years since I've been able tog et really drunk with falling asleep instantly

Well not necessarily a guilty please but a few mates take the piss out of me over it haha I love the later stuff they did like ''get back'' etc

just punch your 'mates' in the arm next time they mouth off about the fab 4

oh man, here's a good pedal order: guitar-tuner-amp.... all other pedals sold to finance lots of cigarettes and whiskey, put your open bottle of whiskey on top of the amp and place a lit cigarette between the strings behind the nut and get your Keith Richards on

Ok, personally I'd run Tuner>Wah>Fuzz>Overdrive>Boost>Delay>Tremolo>Chorus

I'm not one hundred percent sure why old jimmy has run fuzz before wah, but I'm sure that there's some logic to it.

if its a big muff it sounds good into a wah and then with the wah into a light drive or distorting amp to get some filter, pseudo-octave goodness.... trust me

and for the millionth time to everyone, a big muff is not a fuzz, its just a fuzz sounding diode-to-ground style distortion, just with loads of gain from discrete transistors and lots of clipping stages layered up to achieve its signature squash

Dead Weather VS Raconteurs VS White Stripes VS Solo VS Upholsterers VS The Go

What do you prefer?

no preference?

he plays some odd old guitars with unique pickups, plus I am sure that his use of a fender twin and a silvertone slaved together will influence the response of the muff... if white bridged his 2 amps in white stripes then the input impedance of the 1st amp would be halved to about 500kohms and that would probably effect the bass and treble response of a big muff too

how can the Beatles be a guilty pleasure? If you feel guilty about lsitening to the beatles then you must be in an Iron Maiden tribute band or something.

Mine is the smiths, there I've said it! after 20 years of ignoring them (mostly because so many people I knew wore their smiths fandom on their sleeves like a pseudointellectual badge of pop music honor) as of Wednesday I am digging johnny marr's 1st band again... his tone got a ot better, but the songs still hold up and that damned morissey is such a clever bugger... their john peel sessions still stand the test of time, and I don't think I have heard them since the late 80s or early 90s

Just looked it up on kurts equipment which says he used a phase 100

I am not sure if they still make the phase 100... the phase 100 is to the phase 90 what the bad stone is to the small stone.... ore controls, less stages of phasing, kinda sweet

I like flanger but I really don't know if I use it enough in my own music to buy one. I'm not sure if it would sit on my board very rarely used. But A Electro Harmonix polychorus I could see myself using just because I love those crazy sounds you can get out of it. Not flanger but sounds fricken awesome

the new polychorus doesn't sound so hot to me... I like the old ones

also, I think the curmudgeon flanger is an electric mistress, not sure though, but it sounded like it last time I listened to Nirvana (admittedly a bit of a while ago)

yeah, lacquer, duco and shellac all age really nicely versus more modern alternatives

but please, if you plan to gig heavily do yourself a favor and don't relic your guitar, it will look plenty cool after a couple serious bands and a few years of small tours

At some point i wanna relic my bullet strat, just gunna take the neck off and chuck it of the balcony and see what happens as I plan on buying a new body and neck anyway and taking the scratch plate i wired off it and shove it into said body

don't do that, if you start putting accidental road wear on your mains trat you willr egret the intentional destruction.... I am still kicking myself for all the times I threw my Olympic white strat at shows whether there was someone off stage paid to catch her or not, I fucked that guitar up cosmetically and a little bit structurally only to have the intense gig schedule as underyourbed continued to build and lsoe a fanbase add gobs of damage, particularly from other bands on the bill who would be drunk and disrespectful backstage

For the last couple of weeks I've been trying to find an Anolong audio transfer controller that would convert to Digital and I can't find any. Not the other way around, not DTA. If there I'm trying to find a device that would have that function, do you have any thoughts? That the 1st situation.

I dunno, this should be easy.... get a radial USB DI box or something

The second thing I need help with is I'm trying to find an audio Interface that has an an ethernet port to it. If there is none audio interface that has one I'll have to buy the audio interface separately. That the 2nd situation.

got me

I'm still looking at DAWs and I think I might have decided to pick Ableton for now to start out for introduction to DJ and Musical compisistion for 90 dollars ,but I just was looking at Cubase 8 Pro yesterday.I must say it has caught my eye. What I really need is a recording DAWs for my studio.If you have any suggestions let me know.

pretty much all DAWs are good these days though Cubase is a particularly good all-arounder for an electronic musicians who incorporates a lot of live elements like maybe live drums sometimes, etc.... logic is also excellent at this sort of hybrid technique, just pick something and get to it

I;m trying to find a good Virtual analog Modular and I was wondering what would work out the best in your own opinion.

ummm, I don't do a lot of modular synth stuff because most of the time I just wire everything up in a pretty standard order so its like 'why bother?'...

but on the off occasion I do want to get creative with LFO and filter rder and such? and I am just knocking about at home stuck with virtual synths for anything outside my small (and ever shrinking) collection of older hardware such as modular analog? I will break out the korg legacy collection and use their modular simulation, I think it sounds really good and the virtual patchbay is cute and the whole thing sounds and looks like a real korg modular of the era, more or less like the one at miner street recording that I really favor for doing weird guitar treatments and such when I am making a real record and not just knocking off some BS in my bedroom, but I digress...

I am sure there are better modular and semi modular modellers out there these days, but unless I am trying to make a Depeche Mode ARP 2600 bassline I always just open the korg plugin because it kinda does what I am used to from using so many old korgs, you know? And maybe you aren't experienced with ms20 and microkorg synths, so your mileage is going to vary outta these plugins I am recommending. I'll bet Gchiaren or someone will know better than me, I am so NOT plugged into modernity or user friendliness or whatever, even in electronic music. I will keep using whatever works for me long after its outdated because once I get over the learning curve on something I am reluctant as hell to start over with a new piece of gear or instrument and if I can get it simulated for my PC all the better because is still zero learing curve. I pretty much enjoy all of the synths simulated in the korg legacy collection, some I have used, some I have or still own, others I dunno if they are accurate copies of the originals but I don't care, I got used to the simualtions after I got the whole collection for the synths I do know personally. I find them easy to program and way easier than dusting off the poly6 and hoping it fires up okay just to get an analog bell texture for one part, you know? I had a friend who owned so many vintage synths including 70s modular literally lining the walls of his studio and he was so lazy about firing them up because all of those CV synths are a pain in the balls compared to what your PC can do or maybe an access virus like he had sitting next to the ADAT machine (this was a long time ago, eh?!). All those vintage synths went into storage when he moved to LA and I wil bet they are still being stored or he sold them....

but anyway, I guess try out the korg?

also, you guys are more concerned with electroics than playing well despite the fact that you know more about playing than you do about audio circuits... checkyaselfbeforeyawerckyaself, boyyyzzzzzz

by the way, you have too many gain pedals goig on unless you are rocking one of these:

https://carlmartin.com/octa-switch-mk3-2/