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B3 - The "never plays a B3" B3 work of Steve Nieve from Costello's Attractions on Temptation from Get Happy. It's all hollow reedy. One of those funky drawbar combinations that are just so cool. Marry that to Elvis' suprisingly grooving muted guitar riff and stand back.

 

 

I don't know how any of this stuff is recorded by the way... the stuff I'm mentioning would sound great on a Tascam Portastudio though.

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Excellent call. One of my all time favorite sounds. I played it to death when it came out on vinyl. I've since bought other performances on CD and always intended to just go back and get the Yo-Yo Ma. Thanks for the reminder. Great sound of the ages.

 

Yeah... I hadda put it on after I mentioned (Yo-Yo Ma's 6 Unaccompanied Bach Cello suites)... which required re-ripping it from 160 kpbs WMA (what was I thinking?) to a high VBR Mp3 (you can really hear the difference on his breath intakes :D ) and THAT meant re-entering all the track titles since the IDIOTIC CD lookup database attached to MusicMatch had 8 different incorrect versions!

 

And, lemme tellya, by the time I waded through THAT I was really ready to turn up Yo-Yo to about twice the volume a cello makes and let it wash over me like I was inside the beast...

 

... good thing it was Bach and not some mic-swallower music or I'd be out on the boulevard picking fights with random strangers right now.

 

But this really is incredibly gorgeous music incredibly well played. Just the tone makes me want to weep with emotion... and then when you string it all together... wow.

 

 

I feel like the kid in They Shall Have Music (Tommy, from the Dead End Kids) who runs into a Yehudi Menuhin concert while he's cheesing it from the cops and ends up in, like, the third row, and he's transfixed...

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B3 - The "never plays a B3" B3 work of Steve Nieve from Costello's Attractions on Temptation from Get Happy. It's all hollow reedy. One of those funky drawbar combinations that are just so cool. Marry that to Elvis' suprisingly grooving muted guitar riff and stand back.

 

 

totally. that also reminds me of the bass on elvis costello's This Year's Model. awesome bass. drums are pretty cool too, especially on Pump It Up.

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Specifics please!
:)

The thread isn't about your favorite artists, or favorite records - as cool as that is. What I'm looking for are specific examples of individual tones / sounds that knock you out based on their sonic merits.
:)

 

Sorry. Specifically the track Just Like You Imagined (which resurfaced on the 300 trailer recently). I don't really know what instruments (maybe guitar/synth combo) are involved but I love how it builds and builds. Just sounds massive. It suited the trailer perfectly as well I thought.

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The guitar solo electronic freakout on Owner of a Lonely Heart - Yes. Played by the S. African guitarist who I forget his name but has a name like someone else in the project.

 

Trevor... Rabin?

 

That is an amazing sound. I didn't buy the album nor am I a huge Yes fan but that combo of guitarness and electronic sickness is perfect.

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Marc Ribot's guitar work during Tom Wait's Island recording period. I'd be more specific but it really is all the same sound. Distantly miced in a darkish room. Stinging mid peaky sound with not too much distortion. Weird in it's awkwardness yet cool.

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Instrument Band - Album song comment

 

Guitars: Pink Floyd - PULSE [live album] Great tone

Guitar : InMe - White Butterfly Just a glimpse Together with the little hint of distortion on the bass, the intro to this song has a great modern day rock guitar tone. Though maybe a bit too loud.

Guitar: Injected - Burn it Black When she comes

Ac. guitar: Porcupine Tree - In Absentia Trains Absolutely wonderful and rich acoustic guitars in the intro and the breakdown. It's also really great when the electric guitars kick in again at the end.

 

Bass David Gilmour - On an Island On an island A very rich and deep bass.

Bass: Porcupine Tree - Arriving Somewhere.. [live DVD] Hatesong The album version is nothing compared to the live recording

Bass: Muse - Black Holes and Revelations Supermassive black hole I really like the distorted, heavy bass in there. The drums have a bit of a distored attack to 'em aswell. Something I feel fits in well with the song, but not something I could listen to over and over.

 

Piano: Erik Satie - Gymnopedie #1 & Gnossienne #2 I couldn't tell you who recorded these, I downloaded 'em. But the recording is really delicate, soft and round. Very smoothed out which the compositions really benefit from.

 

Vocals: Regina Spektor - 11:11 I want to sing She has an amazing voice which really benefits from the open, air-y recordings. It's a damn shame the recording I have is either heavily compressed by the person who created the file or the person who mixed/mastered her record.

Vocals: Ralph Stanley - Oh Brother, Where art Thou? OST O death Same thing, 'cept for the compression-thing.

 

 

 

I'd also like to mention:

 

Dave Brubeck - Take five The track is really open and air-y - cool. Great sax, too.

Silverchair's Diorama. Great guitar tone - nice and crunchy here, heavier, harder there - and nice piano work.

Porcupine Tree's Deadwing and In Absentia albums. There are some great soundscapes created by the guitars and keys/synths. There's a great groove and intricate drumwork.

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Vocals: Regina Spektor - 11:11 I want to sing She's has an amazing voice which really benefits from the open, air-y recordings. It's a damn shame the recording I have is either heavily compressed by the person who created the file or the person who mixed/mastered her record.

 

Yes. Cool recording.

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The opening guitar in Daniel Lanois' "I Love You" from his Shine album. I don't what he was using...could have been modulation from the Korg SDD-3000. It has a great dark quavery sound.

 

The whole album had great tones...like all his work. Another standout on Shine is "San Juan".

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Levin's bass on Peter Gabriel's Sledghammer. No attack but in a cool way. Deep but with plenty of tone going on between 200 and 900Hz. And that sound... is his fingers. He sounds like that. As a matter of fact, just about all my calls with a few exceptions are more to do with the musician than any amazing engineering. It reinforces how important it is to make sure it's happening on the floor, in the hands, and in the air first. Then just don't blow trying to capture it.

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Now, at least on my CD copy of Miles Davis "Kind of Blue", much of it is distorted. Transfer, original recording, I'm not sure. It's such unbelievably beautiful music that I've never closely examined it technically...I just listen and bliss out. My other Miles Davis stuff doesn't sound distorted (Bitch's Brew, Dark Magus, Big Fun, and Pangaea).

 

And yes, Rudy Van Gelder recorded some amazing sounding stuff.

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The vocal sound on The La's There She Goes.

 

That incredibly edible perfromance and melody are captured in such a cool way. The neat little resonances and rasps on his voice are accentuated by the mic and compression. It's one I always forget about but ranks way up on my list of groovyness.

 

The tasteful delay and plate are subliminal and perfect, further enhancing it's bell like sound.

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In re: Kind of Blue

 

I know the arrangements are sparse, but IYO, which instrument(s)?
:)

 

Well, IMO, Trane, but how could one go wrong with that guy blowing the horn? I'm listening now to a disc called "Bags and Trane", which is Joe Henderson and Trane, and the sax is wonderful sounding. Put up a mic and get the hell out of the way.:)

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