I am wondering if there are any other musicians on these forums - if so what do you play? Do you write / record music? What got you into playing music? What is your gear?
I play bass guitar, guitar,synth and function as the audio engineer for my band.
It was Nirvana and Much Music (Canadian MTV) that got me into music - though I moved on from that influence early on after starting to learn how to play. I started on bass guitar at 13 and playing guitar at around 22 (I am 31 now) - when we play live I function as the bass player and in the studio I remain multi-instrumental focusing on support parts.
My main gear is:
'97 Fender Precision Lyte Deluxe Ampeg Micro-VR with DI Ampeg V6B Presonus Studiolive 16.4.2 running through Logic X
@Bagnet, nothing against chugging. I get what you're doing (figured the changes out during listening) but honestly that's some kind of stuff that doesn't hit me ;-). I find it impressive (and I've often worked with timesignatures that aren't 4/4 in the past or a lot of tempo changes during songs) but not that interessting. I like a lot of progressive stuff but I also got to have a way to weave some kind of progression and/or melody. My style of chugging, was/is more in the vain of Iced Earth or Pantera, God Forbid, Lamb Of God...if that can be counted as chugging ;-). I'll check the other stuff out.
That sounds like a damaged "knife edge" or post. Both can be replaced (even though Ibanez replacement parts are horrendously expensive...at least over here). Did you ever adjust the post height while the strings where under tension? That could damage these parts and lead to this behaviour. I've tried 8 strings, and I've had the 7 string Ibanez for some years. And I really tried playing it (had some 7 string songs with my old band so I had to learn how to play the other songs on a 7 string) but it wasn't something I really enjoyed I must say. I haven't got the biggest hands and pulling off some stranger "jazz" chords while banging on stage was hard enough on a normal 6 string one, but on the 7...it hurt and wasn't fun at all. No probs while sitting though ;-).
Sadly I've never heard of Faith guitars before (but I'm mostly out of the loop whats cool now, most of my guitars were made in the 80s or early 90s except the Ibanez and I'm fine with them) but this one looks really nice! And the price seems to be OK as well. My acoustic looks a bit more "flashy"
Lots to respond to on this thread, lol - just about to go into work, but will take some time tonight to go over the new music and comments presented. Looking forward to it! 🙂
Really enjoyed reading all these stories of trying to make it , the life on the road and the inevitable fall-outs. Much more fun than instant success! I play piano/keys, and played full-time in late 80's + 90's in covers bands - metal, rock/pop, soul, jazz, blues. Like wide variety music but more jazz/blues as get older. Few things recall on road like our drummer falling backwards during playing, pushed threw fire-door and fell down the fire-escape stairs, staggered back and finished gig with broken rib! Love musicians like this (Tal Wilkenfield) https://www.youtube.com/watch?v=25q8nWZQGaQ.
I have some exciting news for all posters here regarding the future of music playing and recording. I am an indie developer, and have combined my 2 hobbies of music and VR to make an app i think you will all enjoy. I cant give any more details here, so have sent you all a PM with details of the invite, appreciate if you can keep the details confidential for now. Any other musicians with Rift that want some info to participate, please PM me for details.
Thanks to all for your willingness's to try app 🙂 I thought users of this thread would be perfect match! I need your Oculus registered email (not Oculus ID) to add you in. Send by PM only. You will receive email "FWD from Oculus", open and accept invitation first, the app should appear on Store Tab as My Preview Apps. thanks v much Paul
First off - that acoustic looks great, love the green burst!
You totally nailed the sound as 60s filtered through the 90s alt-rock vibe - my favourite two tracks on the album are Bandit in the Night / Fly Away were just live off the floor in Turtle Rock studios in a really nice room - can't remix it cause it was just a two track pre-production demo but it fit at the time. That said Multiply was crushed at the mastering stage by the producer.
It was before I had any idea about the loudness wars - which I was blissfully ignorant of as I did not really pay attention to new music at that time. In fact I only started paying attention to music made after the 80s (outside of Nirvana who got me into music) when I started learning how to record. I started looking at newer music and all music from a different perspective separate from just song writing and arrangements and more in terms of tonal depth and orchestration.
I am not 100% against the loudness wars - in fact I master my albums significantly louder than some of my favourite albums from the 60s and 70s but still paying attention to not crushing everything super loud at the master bus. The reason music needs to be mixed a little louder now is because most people are not listening on high-end stereos to uncompressed wav/flac files or analog formats.
The way my workflow is when I am mixing is:
Mix stage - each song is about 16 main tracks covering the drums, bass, guitar and vocals - after which there is anywhere between 50-70 overdub tracks, synths, etc. I have 8 stereo outs - 3 of them are dedicated to drums, 1 is dedicated to bass, 2 are dedicated to the main guitars, 1 to vocals, and 1 to the various overdubs and synths through out. Those are mixed so the vocals mostly sit on top, then the bass and drums are brought up front and the main guitars are brought up just over top of them, with the last output of overdubs/soundscapes just slightly underneath that.
All pan's and volume adjustments are automated through the DAW - compression/EQ/in box effects are only added at a track level (never on the stereo outs, or master bus). Once I have the mix sounding nice I do a live bounce to two track wave - if there are any absurd peaks I find out what is causing them and eliminate them. Once I have a final two track wav file that I am happy with it - I run it through a single stereo out and apply a slight bit of multiband compression and EQ to raise the volume leaving enough headroom so that the listener can comfortably crank their stereo without worrying about blowing their speakers.
When I move to the Midas board the 8 extra stereo out's should allow me a significant upgrade in terms of space for the soundscape mixing as well as 32 track live recording will allow me to track more drums when we get our initial bed tracks.
@Bagnet
sounding good, I went ahead and took a listen to the other tracks you listed. Millionaire is great - love the riff and vocal throughout. Unforgiven (acoustic) sounds really good too.
As far as bridges go - I want to mod one of our strat's to be a floating tremolo like Jeff Beck, but other than that I am totally whatever works, works type of personality. If I can get a good sound out of a guitar I don't care how it plays to a degree.
I mean as far as sound goes - my goal has always been something between mid 60s songwriting and early 80s aesthetics. Or at least those are my guiding principals when I start a project.
@lukeskywatcher
That is one of my favourite Jeff Beck songs - we have had it in our set a few times. She was a great bass player for Jeff - not sure if she is still playing with him.
His newest album Loud Hailer was awesome.
I don't have many touring stories - our gigs have always been local to whatever city we are calling home for the moment. But I have a number of ridiculous gig stories, and have met a good amount of just weird and wonderful people playing music out live - which is why it is a shame that local music seems to being dying out at least here in Canada.
It hurts me a little to watch videos like this - don't we all (that's us older folk) look at this kind of thing and wish such things had been available when we started playing? I don't feel I've been playing that long - about 20 years - but I picked it up very quickly and was teaching beginners at the local college within 3 years, but when I first bought an electric, the cheapest you could get was before the internet and internet shopping had taken off in a big way, so the local shop was all that was available. A Squier Strat or Tele was the cheapest around (humbuckers were just not available on cheap starter guitars) and they cost double what this did. Also, they were not ideal starter guitars imho, because the strings were ridiculously close together and the neck was so narrow, it wasn't possible to fit a wider nut - not that I would have thought of that back then.
Anyway, it hurts me because my playing is so poor these days. Due to health and probably age (a bit) I just can't play the tunes I want to. Even the tunes I have played regularly since I got my first electric sound pretty awful. In 2006 the Reiter's Disease I suffer from spread to my hands - been making its way up from my feet since 1989 - and it was impossible to play more than one note. I was in an Oasis tribute band at the time and I had to give up everything overnight. I couldn't play for over 2 years and have never properly recovered. That's why I switched to bass, which was a good move, but I think it was a little too late.
Oh well - life story over, I can always drown my sorrows in a pint of lager - except I can't drink alcohol cos I'm on morphine - man, I'm screwed!
I feel an extra swig of Oramorph coming on! 😄
PS: I know plenty of people who use cheapo guitars as their main gigging axe - allbeit modded out of recognition!
Shit Brixmas - not much to say but that is a 100% bummer! I can't imagine going through something like that.
I started playing about 20 years ago too - well almost, 1999 so a year or so to go before I got two decades under my belt. I started on an ibanez tr50 bass before moving to a Fender J-Bass. I was not a big Squire fan for a long time - although I have a squire bronco bass now that I absolutely love.
I am actually kind of glad that the internet hadn't taken off big when I started playing - learning from tabs and by listening to records was a huge part of learning to play by ear for me. I always feel like I am cheating when I watch youtube videos or use Songsterr to learn songs now. LOL
I think the cheaper acoustic was a nicer guitar - but I actually like the low output sound of the electric there too, just put some compression on it and maybe a little overdrive and that guitar would sound bitchin'.
I use cheapo guitars all the time - but I mostly have no allegiances one way or the other. I was in the store the other day playing a 17k Gibson ES-335 that I just loved the sound of and if I had access to tonnes of money would have bought in an instant.
I mean for my price range - I am usually drawn to the mid-range ($800-$1300) priced guitars as far as new off the rack stuff goes. I find that the new guitars that run over $2000 or more never have enough grit when I play them - or they feel to luxury for me (as opposed to an expensive vintage guitar which I find most times I have played them they were never listed over $1000 they year they were released).
I like my Peavey Raptor ($180cdn when I bought it) because it has over wound pickups which I mostly don't find on expensive guitars.
Cool. Yeah my mixing process is a bit more complex. Currently I use up about 40 - 60 tracks on each of the songs. 2x2 for the rythm guitars (panned and most of the time doubled), 2 for the doubled lead parts, 2 for the doubled solos. 2 for acoustic picking/strumming (mostly doubled) 1 for acoustic lead/solo. Additional 1 clean electric for lead parts. 1 for bass, 12 for the drums. The rest is filled by all the symphonic VST instruments (I rather have every instrument single than using several banks in the VST itself due to the far more easier mixing).
The doubled rythms each go into a bus, then the 2 busses go into another bus for full mix. lead and solo have each a single bus. Drums go into 3 busses. The rest stays in the normal track most of the time. Only for complete orchestral brass or string sections I go into another bus afterwards.
I use a lot of compressors (but most of them as little as possible) on the single tracks and/or busses. And for the mastering I use a multiband compressor as well as a limiter. But I try to get it as lively and nonsquashing as possible. The first Nocturnal Escape has had too much compression and limiting on the master bus. I'm also not against using a certain amount of loudness but if it squashes everybit of dynamic out of the song or feels like it is overdriven all the time I get turned of quite fast. On the Nocturnal Escape I made a lot of mistakes but it was my first time doing it all myself and I guess it's there to learn. Doesn't even sound as bad as the infamous Killing Is My Business from Megadeth ;-).
@Brixmis Oh man, I'm sorry to hear this. I'll drink one on you later tonight. Your choice Thorbräu Viking or Thorbräu McMellow...or later a nice scotch ;-). To the Squiers. A former bandmate of mine had one from 2001. With the big 70s headstock. It was a well made and good sounding guitar...but a bitch to play as a beginner I guess. These small frets and a neck thick as a halfed baseball bat. Only the pickups were a bit shite...couldn't even play crunchy ZZ Top riffs (which we were doing at that time) without getting massive feedback on lower volumes.