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Red Ant

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Everything posted by Red Ant

  1. Have you seen the '76 Knebworth show on youtube? The whole gig is absolute fire. I'm not the hugest LS fan, but that show is really worth a watch. I can't do Freebird though... have to skip it. This sh*t right here is killin' though... Steve Gaines is almost Duane-like. [video=youtube;SY63KTMrkTM]
  2. Very cool! I bought this Squier for $127 in Virginia Beach 4 years ago - I was visiting my parents and while there was informed that I needed to learn 26 Steely Dan tunes pronto, for a gig. It is SHOCKING how good this guitar is, completely stock. Plays great (after a setup), and sounds great both dry and plugged in. Granted, I played 7 or 8 of them till I found one that sounded good, but still... [ATTACH=JSON]{"data-align":"none","data-size":"full","title":"20190713_161618.jpg","data-attachmentid":32551278}[/ATTACH]
  3. That's the part I don't like. To paraphrase Hank Hill, "You're not making rock & roll better, you're making classical music worse"
  4. I have NO clue. But yeah, how can you not like Ozzy??? He's absolutely terrible, and always has been, but there is just this midlands stoned idiot charm to him that I've always found hard to resist
  5. I've always liked this tune, but man everyone is really struggling in this clip, even Randy... his time is all over the place! Not crazy about the tone either... too much hair.
  6. For about 20 years, yeah Though truth be told, I took a LOT of cabs
  7. Definitely the NOS tubes, but I'd skip the greenback - imho not the best choice for this type of amp. I'd go with a lower-wattage Creamback instead, it would get awfully ratty with a greenback in it.
  8. The irony is Paganini was the laat of the freely improvising soloists (that we know of) before the "tyranny of the composer" fully settled in, whereas to call what YJM did/does "improvisation", would be rather a huge stretch, imho.
  9. Wtf??? You could have woken me up in the middle of any given night at around age 10 and asked me and I'd have said Eb before you finished the sentence! I find that difficult to believe in a "highly trained" performance pianist. Possibly because I went to a conservatory, which was a great deal more than "piano lessons", but a full curriculum - piano, choir, music history, music theory, solfege, etc... I admit to being rather unfamiliar with US/Canadian educational practices for child pedagogy, bur it seems to me that "highly trained" would imply all of the above, not just the ability to sight-read. And I gotta disagree with Chet. I'd say "teach em how to HEAR by teaching them how to play AND read AND comprehend". All at the same time. I haven't taught full time for quite a while, bur when I did, that was my approach... I alwaya wanted my students to not just be able to play stuff back to me but to undersrand WHY they were doing it. Maybe that's why I alwaya preferred older kids and young adults as students
  10. Have you seen the Fab Faux do the Abbey Road medley? Its quite remarkable.
  11. Nah, lets just skip to paying him for the pizza
  12. When I plot out a set list, I'm thinking borh in terms of key and tempo, and I try to have the set mirror a compositional form, as far as tension/release goes.
  13. Nope, the piano is the studio's yamaha grand. The bass is from the M1 though.
  14. You're correct, drums are also perceived as a point source. However, in recording, I almost always use a stereo pair to capture the room, and those mics get panned wide because the drum set being roughly in the center of the image is well represented by the room mics, and will give the recording a "natural" sound that our ears can relate to. For similar reasons, film recordists and mixers will always add "room tone" to any dubbed scene or dialog - it sounds unnatural without.
  15. All of those instruments are perceived by the audience as a point source in the stereo field, not as having a stereo field in and of themselves. Unless specifically directed otherwise by a client I treat them as such. I find that they sit in a mix much better that way.
  16. I never got to work there either... but I did get to do a couple of projects at Media Sound, which was another converted church on w. 57th street, lots of legendary records were done there, like Imagine. Amazing room and experience. Juat about every legendary room in NYC has closed... Media Sound, The Hit Factory, RCA, Battery, Magic Shop, etc... and Power Station (now Avatar) only survived due to the good offices of Berklee... for which I'm grateful.
  17. I dislike the 184s intensely... they just sound harsh and brittle to me. Only used the TLM102 once, on vocals (it was the only option available) and was less than impressed, tbh... had no warmth to it whatsoever.
  18. I often use my matched pair of Oktava MK-12s in place of the km-84s, they sound almost identical, but slightly brighter, so they work great for a darker room.
  19. I've always preferred the spaced pair, as I've never really got results that I was 100% with doing the Glyn Johns spacing. Its very rare that the kick or snare mics need to be time-aligned with the spaced pair method, but I always check phase on EVERYTHING before I hit "record". Especially given that I almost always use 2 mics for both kick and snare. My "standard" setup: Kick In: Sennheiser MD421 Kick Out: AKG D-12VR Sn Top: Shure SM57 Sn Bot. Sennheiser MD441 HH: AKG 451b Toms: MD421 Each OH: Neumann KM-84s (matched pair) Room: Either my 1963 Neumann U-67 Tube for Mono, or a matched pair of David Perlman TM-1s for stereo.
  20. Been said since the early 80s... and yet there is still an abundance of drummers
  21. I have a largely irrational dislike of the snare anywhere but dead center Unless the whole kit is being treated as a point source and is panned somewhere other than up the middle.
  22. There's nothing quite like playing a "tenor sax" solo on a Korg M-1, then having an actor with a saxello (curved soprano sax) mime being blind and mime one's playing in the music video [video=youtube_share;wfolwI2BJw4]
  23. Yeah, "think and hear like a drummer".
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