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mister natural

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  1. I go a different direction from most guys - the cheaper, the better on strings tone is in the fingers peace
  2. I like my Beck signature noiseless strat set - a lot. It's all the spank and snarl that I need my Tele has the "vintage" noiseless in the neck and that's also a monster dunno where all the noiseless shade comes from
  3. that is an amazing idea Sully ! I (& I'm sure everyone else here) can't wait to hear the results of your journey
  4. I remember going to a demonstration when the Nak Dragon first came out. A string trio sat in front of the audience behind a dark cloth screen and played a movement of some classical piece. Beautiful balance between the instruments. This was recorded by two microphones directly into the Dragon (no mixer, no eq, nothing but copper wire) and then played back. Astonishing sound. The third piece of the test was - you could see the players moving their bows in sync to the music but, by golly, there was no way to audibly tell if it was live or tape. Then the musicians stopped moving their bows and everyone in the room gasped - jaw dropping. I could never afford one though.
  5. I miss tape - there, I said it It was expensive, fussy and oh, so linear we hada Sony TC650 r to r in the 1970s and it sounded so good
  6. yeah; I've done this techniqe & I really like it. Mic A pointed at the bridge (bass), Mic B at the 12th fret (treble). Record the take and play with the "EQ" of the instrument by panning to one or the other. Feed both channels into a third to blend a mono signal . . . or not. peace
  7. Roland JC clean for me, over the "honk-ey" sound of most fender amps
  8. WAY too spendy to see them a third time . . . but totally wish I could
  9. somehow; I can't get nostalgic for the "ole days" of linear multi-track tape recording as I could never freaking afford studio time in the 70s, 80s or even the 90s. It was always a dream that I could get the opportunity to construct pieces with multiple layers like, oh I dunno . . . like John & Paul. Sitting in Composition 202 class in 1978 trying to think of how to express the . . . stuff with no money . . . fast forward to 2007 and I get a copy of LIVE6 fast forward : several years later of learning how to use this very complex software & all the while LIVE(as software) is evolving What I'm doing in 2015 is thinking of "looping" a "scene" as an A section, B sections, B2 sections, etc . . . and I'm free as a composer ! (but they're called "producers these days) Everything I wanted to do with multi-tracking in 1976 is here; everything I can structure an idea horizontally, vertically, perhaps both at the same time . . . and speaking of "time" - it's whatever I want it to be - warped to a specific time sig, poly'ed, straight, swinging . . . This is the golden age of music-making - recco that you make the most of it Meanwhile, I'm gonna doing my thing . . . really f&%king loudly ! peace
  10. I try to get my out of state friends to look past the cliché of Detroit as wasteland and think about the music. http://www.ranker.com/list/detroit-bands-and-musical-artists-from-here/reference - missing from this list (fwiw) are Don Was(and Was/not Was), Milt Jackson, Kenny Burrell, Ron Carter and Glen Frey the music festivals I've listed above are IMPORTANT pay attention people; Detroit is somewhat more than what they show you on your TV
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