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arcadesonfire last won the day on June 9

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About arcadesonfire

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  1. I meant to ask, if you don’t mind: Where were you playing? Does the band have any recordings online??
  2. Even though a non-Fender US-made strat would be so much cheaper, I just can't stand the thought of playing one that doesn't have the signature headstock. Darnit!
  3. Saw the title of your post Unam, so I came in here. (I'm usually in the political forum.) I'm trying to get a new band going in New York, and I'm nearly 36. I've been playing in various bands here for 12 years, and one common experience is playing to a near-empty room. There are so many venues that the people who go see shows are all spread out. You've gotta develop a small fan base, and it usually begins with either having lots of friends who will come or by being friends with a band that already draws a crowd. Once you show a venue that you can bring a crowd, they might have you in mind for a slot on a bigger bill, and then you can develop a relationship with the venue. The most "successful" band I was in had connections to other bands at first, and we had a few groups of friends to invite out. It helped that the drummer had been in a really big band in Montreal years before too. We then developed a relationship with Pianos (lower east side) and various Brooklyn spot. Then we got some write-ups and got some big bills--though not many record sales. (Few people buy recordings anymore.) Nevertheless, we would still sometimes play to empty venues, just a few people in the crowd. Other bands on bills rarely stick around for full bills. Gotta get their stuff back to their rehearsal spaces yeknow. That "successful" band of mine ended in 2014 when we were a duo and finally got an offer for a record deal; it was a small no-name company, and my partner didn't think we'd get anywhere with it. It hurt me, but a certain Grammy-winning audio engineer assured me that there isn't money to be made in this business anymore. Spotify and a saturated market have kinda killed rock music aside from a tiny tiny lucky few--who could still end up with very little after their one hit.... This week in Brooklyn, I saw a packed crowd in a venue with a bill headlined by a band we once played with to a relatively small crowd. Even though they had played a tiny show with us, this time, you could barely find room to stand. Why was it so packed this week? The venue was a cafe that was closing, so tons of strangers who knew the place for its coffee came out because it was a special event; all the bands on the bill had friends or former employees of the cafe. Once again, having personal, non-music relationships with people can be key to introducing your music to new listeners. And even still, in New York rock music, you're likely to only find such packed crowds at special events.* So why am I trying to start a new band at this point?? Why is it worth it?? I am not at all aiming for a profession with it. Instead, I just want to play because it's what I always wanted to do. I want to make recordings even if no one listens. I want to have rehearsals rather than sit on my arse. I want to develop some relationships, even if it takes lots of trial and error. And I've got friends with bands; I want to get on their bills. Playing in a band will be a cost, not a profit, but it's something I'll pay for in the same way people pay for other hobbies. *Halloween! If you want to play to a big crowd at a non-arena venue, get a cover band going. They sell big in October. Perhaps the biggest crowd I ever played to (without it being an opening set for a nationally known band) was Halloween. Weezer and Fleetwood Mac cover bands.
  4. Oooh, now I remember. That makes a hell of a lot more sense.
  5. No harm, no foul. I agree that "beat" can mean much more than just the rhythm. Thinking there might be sampling involved seems reasonable to me, because otherwise, this case comes across as just plain bonkers. It seems that with sampling out of the picture, the thought that the jury was selected specifically for lack of musical experience is the way to explain the outcome.
  6. I think most of these copyright infringement cases are bonkers.* Music has an indisputable history of developing by way of musicians taking chord progressions, rhythms, etc. from their peers or prior generations and then adding their own spins on it. Neither that CNN article nor the brief NPR story I heard mention anything about sampling. Instead, they seem to just discuss plagiarism.... Whole sub-genres have developed from using the same rhythm though; the "blues" has only a small handful of basic chord progressions. Sheesh. Inspiration does not equal plagiarism. If there were an accusation of sampling in this case, then I would think the "discovery" phase of the lawsuit would involve bringing out the individual tracks from the Katy Perry song and visually comparing to sound waves of tracks in the rap tune; correct me if I'm wrong, but that's how the plaintiffs could prove sampling occurred. (How many folks in a randomly selected jury would understand that???) *There are some cases of clearer plagiarism, where artists use the exact same modern chord progression, by which I mean progressions with non-chord tones or notes out of the key placed in the same positions; this is different from using a I - IV - V progression, etc., to convey certain moods. Radiohead said outright that they had a song by the Hollies with a I - III - IV - iv progression in mind when writing "Creep," so a few members of the Hollies are included in songwriting credits for "Creep." That's a rather rare chord progression though. Other things, like I - vi - IV - V or bVI - bVII - I are used to evoke where listeners have heard them before; that's been common practice in chordal music for centuries. Claiming copyright of a specific rhythm is even more questionable, so it seems to me, unless there are very specific other factors involved.
  7. Hmm, I do have a Korg R3. 'twas on loan to a friend's band for years, but they have now broken up. Maybe I should just run my guitar through its vocoder!!
  8. Well now GAS has struck. I remembered I’ve wanted the Strymon Flint for a while to replace my old homemade Trem and so I could have reverb when going just through my plexi clone. And then looking at further reviews of it, I got turned on to the Fulltone SupaTrem2, which sounds better but wouldn’t kill both birds. Maybe i should limit my food diet to just bologna sandwiches till this passes. Get a SupaTrem, a Monosynth, and some economical reverb pedal for the end of the chain.
  9. How am I supposed to do pick squeals with that??
  10. EXACTLY!!! This is the only price I see for the Boss SY-1 in dollars so far: $309. That's not quite "a little fun money." https://www.riffsandlicks.com.au/bos...sizer-fx-pedal But ooohhh, the Boss does have an FX loop for just the synth sounds. That's kinda key. I have the EHX Superego, and I absolutely must place a cheap EQ in the loop for it to sound good. I suppose I could get a cheap FX loop pedal online (maybe on Etsy, ha) to put the Monosynth and one of my old, cheapo Boss EQs in.
  11. That's what inspired me. Thanks for the response above. The SY 300 is a bit out of my price range (and pedalboard real estate) for now, but I'll compare the Mono Synth to the new SY1. I've been in a creative rut, feeling like what I write always ends up being 80s-esque (in Dorian mode for some reason), and I feel like I'm not up to speed with what the youngsters are making in the Brooklyn rock clubs; there's tons of synths and synth sounds these days. Plain guitar/bass/drums is a rarity; even the revival of grunge has passed into the past by now. So I'm thinking back to my youth... Pedals and textures were always very inspiring for creativity. Find a sound you like and then write a song around it, with the production/texture (i.e., effects) making it sound unique and innovative. That's one way I used to write good stuff. I had long thought about getting one of the EHX 9-series pedals, but they all seem to have the same sounding attack; the Mono Synth sounded distinct from them and more enticing than the Synth 9. I'm not sure if Boss has quite pulled off the guitar wave-reshaping and polyphony as well as EHX somehow did, but I'll get to looking/listening.
  12. Got my amp situation figured out, and now I'm back to looking at pedals...... Sooooo, does anybody here maybe have any secret info, any special contacts with Electro Harmonix, and know whether they plan to come out with a polyphonic version of that Mono Synth pedal currently on our page?? I was excited about their (polyphonic) Synth9 pedal, but sound clips and lack of control kinda turned me off. It's got no expression pedal option!! Most of the sounds had a similar attack envelope, and it seems like you can't control it much. I like the Mono Synth sound clips and like how an exp pedal adds a whole third knob of control. Buuut it's monophonic. Only good for leads or "perfect" interval pads. So if anybody (ahem) knows of secret plans at EHX headquarters, feel free to spill the beans!
  13. I dunno about Tech 21s.... I've never enjoyed playing through any at stores, and I've always had the experience that direct boxes don't take my pedals very well. 15 watts would certainly be loud enough for any of my needs... it's just that the little tubes don't produce much bass in my experience. When I've run stereo through my EL34 Traynor and my friend's Egnator Tweaker (with 6V6s) in the space, it sounds pretty much like I'm still just playing with an EL34 amp. Compared to running in stereo with my Hot Rod Deluxe, it sounds like i've put on a filter drastically cutting everything below 400 hz. I'll figure out my predicament.
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