tel_nobody's forum posts 734

I noticed that he jumps onto guitar at times... could be where the line selector comes into play, even though he crosses the stage to do so. If you want to provide a link to the video you extracted this screenshot from I will be able to tell you more about it.

I do not know the song, if it is someone else's tune or your own, I will comment the same.

This sounds better than your previous tunes. There are no obvious spikes in instrument volume and the software seems to be helping you quite a lot.

Now without knowing the song or the tune, I will make some observations that may (or may not) shape your future recordings.

Repetition. If I clicked at any point in your song, it was the same. No different chord progressions no change in how you sing the song. Yes, you changed the instruments coming and going, but this did not improve the song. Be careful of tipping a bag of tricks at a tune to make it more interesting. If the song is going nowhere, it will not help it get there with a violin replacing a piano (example only).

You called this topic my new mix. It should be My New Song. You should consider ways to think about improving the structure to make it more than a mix. You mix a song, but you cannot sing a mix. You perform songs and the public respond to songs. Could you include a chorus, a bridge or some other element to break the monotony? Use a voice that sings with some range and variation in presence and power. It sounds like you are singing at a very low volume.... probably because of where you live. Record at the church where your videos were shot. Judging by the #hashtags below the tune in the title, this is a devotion song. Let your devotion be heard. Make an effort and make your performance joyful, alive and singing praise.

Top left T-Rex Fuel Tank. Top right Boss Line selector. Bottom left Boss Digital delay, Bottom right TU-2 tuner None of these will contribute much to tone... Follow the path of his line selectors to see which amps he is running to...which just looks to be Ampegs.

This thread is just a 'musicians don't get it' thing. There are a dozen ways to skin a cat and fucking ith the levels is last priority. Get everything working together and THEN address elvel.

Except it's not. This is a post to discuss who has a say in how a musician should sound, how a band should sound, and who gets to have governing say on these factors.

In the OP I did not mention levels at all, unless being lost in the mix is an instant quick fix waved flag for levels that I wasn't aware I was waving.

I will use a couple of examples to clarify: In 1992, a recording we released (WHICH WAS recorded to tape) as part of a compilation resulted in one of our songs, which had me using a Roland Jazz Chorus running into it clean (with a mild chorus in effect) made it to the final mix being so saturated with effects that the entire sound I recorded with, the sound I had chosen to represent that section of music, was lost. When I reported to the band running the project that this had been changed, I was told that the Engineer knew what he was doing. No Consultation.

In another recording years later, in a reknowned studio, with a reknowned engineer, our rhythm guitarist's work is barely audible throughout. Unsure if this is a "levels" thing or if a shared frequency had the two sounding too similar, but the absence of the parts he played in the songs was evident.

Another would be the example of a drop tuned metal band having their sound reduced to a fuzzy sludge and the engineer not agreeing to change it. I discussed this with Jim recently, but I feel that the artists should be able to fight for their sound or at least have their thoughts heard and the reason why the mix sounds as it does explained to them and if not the sound they wanted, they should not be completely out of pocket for the recording they could not use.

And on another, I was recording for a project, and based on direction from the writer and the sound of the other instruments in the song, I recorded a part choosing the amp and effects carefully, only to have additional plug ins dropped on top of what I recorded, changing the tone and voicing. When I raised this with the artist (writer), he said that he had showed it to others, and they said the new version (his adjustments to my submitted sounds) sounds heaps better.

The post was here to see if having a say and using diplomacy was acceptable when you have commited to a project, or whether your input was limited to supplying the tracks required, then passing ownership and direction of the product YOU created on to the person you did the work for, or the engineers running the project - who work with artists all the time and know what sounds best for a finished recording.

I am not calling for a definitive right or wrong. It was entitled "have your say".

Totally agree on both parts Boom.

But if we are talking about after you have recorded your parts (in a situation where YOU are not the one recording/ mixing), and you are hearing something that sounds so different to the way you hear the song, your tone, your volume and how you want to sound in the song, what then?

I believe the entire process should be collaborative. That all parties should have the opportunity to explain why they want something sounding a specific way.

THIS! is Equipboard!

This is what makes this site magic!

Gather in guys.. big Equipboard hug!

Whether you are a songwriter recording a song, an instrumentalist or band member adding a part to a song, or the engineer behind the desk, how much of a say can you have in the process?

I would assume diplomacy is accepted as long as it benefits the end product. But many times musicians are left disheartened when they have written a part, or a great set of lyrics and the idea is not even considered, or by something that has occurred after the recording has stopped... A guitarist has had his perfect tone that defines him pumped through signal processing that alters his tone, a bass player gets lost in the mix, a cymbal accent is lost somehow, the breathing you added for emphasis has been edited out, or when you are mixing, you compress and mix the track so that it will play better through all formats and the band complain it has lost its 'live' feel.

Are their times when your say just doesn't matter?

I would feel democracy and diplomacy should be part of any collaboration, that mutual and accepting ability to hear both sides of the discussion and go in favour of the most beneficial.

What are your thoughts?

Good to hear you're still about.

Jim or Xaq are the people to answer this. They Will ask you a lot of questions about this, so try and expand as much as possible now. What other instrumentation are you using? Is it EDM using synths, What software are you using, what software do you have access to? These two guys are an absolute wealth of information, so make sure you know a direction you're heading in so they can give you the most solid advice

Very cool. Hope it is all progressing nicely.

Please do not think that because I didnt' comment that I don't care.

I have recently, (last night in fact) had a collaborator post some of the songs that I have provided guitar parts for to a National Radio website. They are there for all to see, including my guitar demos I had sent him. Aside from the fact that they were single take rough cuts that I laid down to listen to and build on and get his opinion from, and ALSO aside from the fact that he had not included all parts and laid down a minimal version of what I had sent as a matched and built scape of complimenting sounds... The mix HAS COME OUT really brash.

It has obviously been "optimised" for their listening format and his mixes simply do not mesh well with it.

Thanks for posting this so that we can all get a better understanding of what can happen to our mix when it gets out of our hands/ desks, and what we can look at, as ways to preserve the presentation of the product that we worked hard on getting the sound of.

Hello all.

Is there a way to include a search function for forum topics?

People may wish to enquire about something that was actually discussed years ago and rather than trying to drag themselves through 8 pages of DJ and electronic music forums, 24 pages of general forum and 22 pages of guitar forums then attempt to navigate through up to 35 pages of responses for each individual thread just trying to find out if their question has been asked before, it would make the forums a lot more intuitive if the user could search a topic in the search bar, and rather than simply include the results of the artist, gear and member databases, they could see posts containing the searched item or topic.

This would make the forums a more usable tool that would be visited and frequented by more Equipboard members.

I thought SHO is a boost, Box of Rock is a JTM 45 voiced drive and a SHO channel and the DOUBLE ROCK was 2 x Box of Rock cascading, designed for J mascis and bearing his image in the artwork .

I think you need a re-evaluation of your valuation of this evaluation's devaluation.

I actually would except a $99USD guitar is approx $300AUD and this defeats the purpose of the exercise.

I saw the same guitar being advertised for 99 pounds UK. which is not quite $99USD....

What are the chances we will get value for money?

With the "you get what you paid for" logic, what will we get?

And why can they make a $99 guitar? Will the quality really be much lower? Can it?

Welcome indeed. I was looking for porn and this was a pop up ad I followed.

Where will all those guitar store riffs get played if they go under?

MY.BRAIN.BROKEN.EVEN.MESSAGE.WAS.ATONAL.WHAT.JUST.HAPPENED.TALKING.TRASH.OR.SALES.PITCH.MAKE.THE.HUMMING.STOP.....

I 100% understand and agree with you. That is the best thing about guitar as a medium, it can be augmented in a myriad of ways.

You are like a light that shines down on a guitar and makes everything sparkle and shine in a way that is untouched by any outside sources.

I am the shadow that is cast by the light that lays across rocks and broken glass and dirty puddles.

We are not two sides of the same coin, but there is a universal currency.

And smack talk all you want... I know your cranky face is just drawn on a caring and lovable soul that just wants to help everyone and have cuddles.....

And I can't play.

But it sounds good to my ears and does what i need it to

Depends on your playing style. My music runs from slow dreamy drifty stuff that only needs a little tickle of drive through to high gain thrash and mosh grinds... sometimes in the same song.

I run a twin tube screamer styled overdrive pedal, a soul food Klon clone and a marshall distortion pedal and a big muff with an eq to shape their sounds between either a clean solid state amp or a relatively clean dialled marshall. I let the pedals do the talking, and can stack them in any combination.

But thats just me.....

This will get you started. The headphones are a great place to start and the interface is a popular choice.

There are absolute benefits to purchasing studio monitors as well as headphones.

As you have probably read a thousand times... or will before you decide which ones to purchase, Studio monitors give your sound a very flat.. very honest response. They haven't boosted up the bass and tweaked the treble (hyped up the sound that we hear) to make your mix sound ballsier. They play (or aim to play, depending on how much you spend/ how big they are/ how your room is sized/ shaped and treated... another post and consideration within itself), the exact sounds you are making, so that when they hit the consumer... your listeners... and their own personal hyped up speakers... the speakers are able to hype up a true representation of your sound... and not leave your songs sounding dull to others when their hyped up speakers are trying to hype up a sound that was ALREADY hyped up by your hyped up speakers.... (you get the picture... the whole copy of a copy mentality).

I know the benefits of working with headphones... but if you want others (friends/ your target audiences) to listen to your stuff... or play it at clubs/ parties, you will want to hear how it sounds in and reacts to a room. Is it too boomy... muddy... wimpy... are those hand claps and hi hats making you grind your teeth every stroke?

Make sure you give yourself a chance to listen to your stuff in a room... without headphones... and test on several speakers... stereos... car audio and bluetooth devices that you have to honestly see how your stuff reacts to standard speakers.... it can make a HUGE difference.

I hope that makes sense and it wasnt just repeating it all to you.

Now. Connections: The headphones plug into the Focusrite as normal. No surprises. Keyboard/ midi controller is USB based. It supplies power AND connectivity. No MIDI cables to purchase or anything. This plugs straight into your computer and the drivers it will install help the focusrite find it... plus it will be detectable.

You will have a lot of fun with this set up. Save for some monitors. Bigger than 4.5 inch... you are driving EDM so will want something that understands a bit of bass will be used and little speakers are never going to cut it... despite what their reviews say. As I have recently been told, 5's can still leave you feeling a little light... and then there is the whole subwoofer consideration.....

Good luck!

So the Ho tone... without using any ACTUAL hos...

My god!!! Am I using an EMULATED Ho tone... or is it a Ho Emulated tone???

https://www.youtube.com/watch?v=mdB3Oyd5HtU

It has still been working... I just have not seen a lot of the regular users frequenting the boards, and was curious if everyone was still about!

I own one!

This is why I 've recommended it.

The bad things link to durability, but this thing feels very stable and the rocker seems solid to me. Th evolume is adjustable, to determine whether quiet (heel) is zero or just quieter, the wah sounds as good as a crybaby and has the same amount of travel as a longer one, It has 2 x led's in the front to show when it is on.. which are better than one because you can see them under the rocker. I have not tried it as an expression pedal yet, but every thing else works just fine for me!

I loaned my Crybaby to a friend years ago and never saw it or him again. this fills that gap.

Boards have gone rather quiet. Got time to pop a quick comment in here to show you are still about... maybe even a 25 words or less update on how your projects are travelling?

HOTONE Soul Press. Vol/ Wah/ Exp pedal at the flick of a switch in a Boss sized enclosure.

Dream setup or Blue Light Disco waiting for nightfall and the second chance at sampling the voice of darkness banging on darkness banging?

you forgot the rug... obviously a cowgirl!

hahaha Packaging tape!

Although the wife just brought home a bag of velcro ties... her company has thousands of them but the have stopped using them! Soo neater here I come!

It's a prototype... just shelving from a hardware... Melamine or vinyl coated mdf. I wanted something portable... The final build needed to be to these dimensions.. I have built this to see if it is workable and practical.

Current set up... https://scontent-syd2-1.xx.fbcdn.net/v/t1.0-9/19598705_10154512727702007_5562732527910501748_n.jpg?oh=d6d67672f958390b418cebae1f240513&oe=59C51682

It isn't the best... but it works until the real build is done.

It should allow and incorporate live instrumentation, it should recognise anything fed through the interface but my midi controller keys are usb into pc direct...

My bad! I was thinking of the MG15CFX witj the effects built in! try a cheap multi like James suggested! This will give you a feel for it. Even a cheap old Boss one like a BE-5 ($150AUD on reverb)

Winter is Coming. Buy a Wampler Dracarys. Save the guitarist, Save the world! James has spoken.

HEY! I'm inconsistant!

WHOA WHOA WHOA

You just recommended a pedalboard amp to someone looking to buy their first pedal. There are NO pedals so there is no pedalboard.

Also suggested a $150 amp HEAD that still requires a speaker cabinet which also does not exist. Let us not buy a new amp quite just yet.. these can be mic'ed up quite successfully...

So pedal choices....

I am going to second the Big Muff call but will take into account the relationship this pedal will have on a 15w solid state marshall with built in effects and suggest it may play to roughly to be enjoyable at this level.

I recommend trying a muff style pedal in a guitar store environment, in your model of amp, or even take your marshall in to try the pedal with it.

I initially asked about effects with your amp because I have played with this exact model in stores, and wasnt sure if the onboard effects were in use and wanting something different, or looking to replace them.

Muff... NOT a fuzz pedal... differences will be evident when playing... muff has a smoothness. An eno bmf fuzz is a suitable entry level copy that wont break the bank.

I will also put forward a tubescreamer clone, the Digitech Bad Monkey will give you some thrills that dont blow the budget.

Big muff AND Tubescreamer (or their clones), dialong in some on amp effects and rock stardom awaits.

To answer you, first you could answer me.

What are your musical influences and favourite artists? How do you like to play, are you finding yourself as a rhythm or lead player? Do you use the effects on your little marshall?

Guitar is not dying. Culture is... and it is taking adventure and expression with it. I have lyrics that border on being an act of terror. But i love them just the same and plan to release them regardless.

Guitars will become like Excalibur. Only the worthy will be able to wield them.