Sjoko, Shailat, Skippy, Track Rat... – guitar depth

  • Thread starter Thread starter Blue Bear Sound
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I must say the tones availabel on the POD are good. The tones on the Line AX212 flagship amp, which I own are even better but to be honest the Sansamp PSA-1 blows everything else away. I consider myslef to have pretty good ears for an amateur enthusiast and I can tell what amp is being used on on records or whether it was miked or a POD like device was used but the PSA-1 almost sounds identical to the real thing. The rectified settings are awesome and have that Boom and harder edge that is missing the POD etc. I am definately considering buying one when Im in the States...

check out the samples on sansamps site.

www.tech21.com
 
Just listened to Eddie's recordings. He's a shit hot guitarist... check them out!

PS its time consuming, but to get that extra feel of realism from the otherwise excellent sounding drums you coudl use the drum editor in Cubase to attend to each of the hits indivually (not every one of course!). Attention to detail goes a long way e.g. at the beginning of an important bar you may want to make one single snare hit a little lourder than usual. Real drummers do stuff like this naturally.
 
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alchemist,
If your ears can tell us what's what, do you happen to have a copy of "Two Against Nature" so we can get to the bottom of this question?

Queue
 
No. I couldnt find it on Morpheus. If anyone wants to mp3 it and send it to me I'll have a listen.

Eddie are you a session player btw???
 
Alchemist3K

I work in florida doing a lot of recording for all types of sets.

Graduate of USF and am working on the instrumental side of music...wanna do the next "Jaws" track...

Ever hear three notes give you that many goose bumps?

I appreciate the kind words...

Im working on my 4th record which is a classical nylon guitar mixed with electric, so far so good...

One of my songs was bought by a video game, so i do alot of different stuff...

but like most, i have the regular 9-5 job and try and do as much as time will allow to record..

Im 35, married, so my family is the most important thing to me now..

I still feel like im 24 though lol

Hey "m8" <-- english for mate lol

Did a show in London in 92, loved it there!

women are a little pale, but i suppose thats because it rains so much

But had a good time...
 
Sjoko- where did you get that POD information... I totally flat out refuse to believe that they had anything and everything at thier disposal and went the pod route instead. Please show me where you saw that information, til then you're pulling my leg :)

Bruce, if you can get your hands on a Great River and a Royer R121 to demo, give it shot... I'll bet you get a bunch closer than you thought you could. A good defined dirty sound will make all the difference too, running through Celestion 30's or better. Makes a huge difference in depth. Huge. I compared three cabs one day, and every time, for everything, we prefered the vintage 30's.. clean and dirty.

The ROyer is last on my list cause of cost, and I may never ever own one, but it is on my list. They have a demo CD that you can order for free that is kinda revealing. I need other stuff 1st, and I'm just now getting started rebuilding my gear list... finally.... thank God. The Great River, on the other hand, is among the 1st things on my to-get list (showdown between Great River and Amek 9098 dual), unless the RNMP just happens to be that good. Lets hope it is.
 
tube, save yourself a huge amount and try the UniValve. It has a build-in HotPlate, so you can use it as a preamp as well - in other words you don't need speakers to use it. Want a different sound? Just change the tube for a different one.
Apart from that, its simply the best amp for tone, low noise, and everything else good you can say about an amp.
Brian May is totally hooked on it, so are many other players "in the know"
I'm selling loads of them, as everyone who comes in the studio hears it and refuses to leave without it, so then we'll have to get another one again :)

How do I know about the pod? *******grin********
 
I was thinking that the Gibson L5 and the Soldono Half stack I saw Walter Becker use in the artical was the Stuff used.

Incidentally My favorite track was Jack of speed. Simple song but everything was perfect.
 
Ok, I just listened to "Two Against Nature"...am I missing something here? This is good guitar tone/depth? I thought the sound was crap.
 
I really must hear this track... I'll try Morpehus again later today.
 
ametth said:
Ok, I just listened to "Two Against Nature"...am I missing something here? This is good guitar tone/depth? I thought the sound was crap.
The tracks I was talking about are Gaslighting Abbie and Janie Runaway... the riffing in the intros in particular... clean with depth...

oh boy.... ametth, we need to to talk... I have NO idea what the hell your ears are like if you think that sounds like "crap"!!! If you think that's not a well-recorded guitar sound, I'd really like to hear your idea of one that is...

YMMV... (obviously...)

Bruce
 
ametth said:
Ok, I just listened to "Two Against Nature"...am I missing something here? This is good guitar tone/depth? I thought the sound was crap.

Its not exactly my cup of tea either, but some people seem to like it:(
 
Im a HUGE Dan Fan, and Im not really happy with the new record.... I mean amongst what else is on the shelves these days, it's fucking awesome... But compared to The Dano's old one AJA, I think it's way off.....

Cousin Dupree for example sounds so thin and fragile....

Im growing tired of this new clean sterile dry sound.... Everyone wants to return to music's roots and keep it all clean, or should we say keep it pure....

In my opinion, and im sure lots will differ, I actually find an album like "Nature" to be very far from what a real band sounds like....

Yes it's pure, but what does pure mean... Yeah it's the dry unaltered instruments (minus a bit of this and that here and there...) but is it really what a band sounds like in a regular listening facilitiy?.. Not really...

I think an album like Pearl Jam's "Ten" is much more realistic and you can almost picture the band in front of you on a stage...

Nature sounds like they are all in a padded closet.....

Of course thast is my ears, others will definately disagree...

Post your dissagreement... Lets debate this....

(Seriously, it's a very good issue to talk about)

BG
 
Oh one other thing....

I think Gaslighting Abbey is an awesome song...... Some amazing changes and songwriting there..... That is being seasoned......

Fast Fact:

Did you know that many chords that Steely Dan Uses do not even have a name, and the band (or whomever they are working with at the time) refers to them as "Chord #1" ... Chord # 18 .......

Awesome.

BG
 
I think its largely a matter of taste. Personally, I love SD's old stuff, and this new record leaves me stone cold. Mildly worse than that, I find it slightly irritating. NOT something I'd put on to listen to.
 
"Did you know that many chords that Steely Dan Uses do not even have a name, and the band (or whomever they are working with at the time) refers to them as "Chord #1" ... Chord # 18 ......."

Dude, 25% of the chords I play don't have names and never will have names. My reckoning's this: if you're not doing similar, there's a 75% chance you're not coming up with original music.
 
"What I'm using as a chain is:
1. The whole system is clocked with a GEN6-96, which is the most accurate clock available.
2. My 'normal' converters are Lucid ADA8824 8 channel converters.
3. Critical items, like vocals, some acoustic instruments, snares, kick, go through Lucid AD9624 2 channel converters.

That's the normal path. Besides that there is a Lucid SRC9624 sample rate converter which allows me to import / export to and from anything in between 44.1 and 96kHz, or even work on projects with varying sample rates simultaniously. This also is the last "box" before burning masters, as it ensures jitter free allignment of data going to disk.

Finally, there is an SSG192 studio master sync generator which allows for clock in any rate possible, between 32 and 192kHz."

Okay, doober, we've been over this before, but in less detail, and when I mentioned something about clock and sync generator, you said something about them being the same. Now it looks like they're not. So, the GEN6-96 can't handle various sample rates?
 
clock and sync gen = all the same.

The GEN6-96 was developped specifically for audio, with each channel's output either providing superclock (for Pro Tools) or wordclock, at 44.1, 48 or 96kHz. So, it does handle the normal audio rates, the normal clock (word) as well as the pro tools specific clock.

The SSG's full name is a High Definition Studio Sync Generator. It does the same as the GEN, plus a host of other things.
Basically (or not so very basically) ;) the SSG generates master reference clock signals for digital audio equipment in recording, post-production and broadcast studios by providing a single low jitter clock source for the entire digital studio or studio complex (which might be over 10 control rooms / editing suites running through a central machine room).
So, in addition to its "normal" audio clock references, the SSG provides facilities for film or video post-production, as it can reference to the house video blackburst generator (NTSC59.94, NTSC60, or PAL/SECAM 50Hz) or alternatively it can generate video blackburst and serve as the house generator itself. It can also lock to an external word clock input, or an external AES-11 (AES digital black) or AES-3 input.
The SSG puts out clock in four formats simultaniously, word, AES-11, Superclock (256FS - which is exclusive to Pro Tools) and Lucid UltraClock (1024FS/M), with word clock ranging from 32 to 192kHz, with digital audio output frequency range from 32 to 100kHz.

Hopefully you enjoyed the gobbledegook. It provides a low jitter means of sync for audio and vidio and audio / video combined.

The most amazing "side effect" of the design of the SSG is that when you feed it a digital signal, it will "re-allign" the clock signal to the audio with great precission before it passes it on. Using this as the last stage prior to feeding a CD burner, this gives an immediate and immediately audible improvement in the sound quality that goes to the CD.

Your next question will most likely be; "does that mean the SSG192 is better then the GEN?" The answer is no. Actually, the GEN has a marginally more accurate clock, therefore marginally better sound. This as its a box designed to do one thing only - provide the most accurate clock possible for digital audio. Stripped of having to supply all the additional stuff the SSG has to provide, it clock is simply the best.
This does not mean the SSG is a slouch, its getting very popular indeed with more and more mastering facilities in particular switching to the SSG. It has a bunch of great fans, including George Massenburg.
 
Originally posted by dobro in reply to:
">>>>>>>Did you know that many chords that Steely Dan Uses do not even have a name, and the band (or whomever they are working with at the time) refers to them as "Chord #1" ... Chord # 18 .......">>>>>>

Dude, 25% of the chords I play don't have names and never will have names. My reckoning's this: if you're not doing similar, there's a 75% chance you're not coming up with original music.

hey!! name me a couple of notes, and I'll tell ya a chord it could be(one of many possible, I'm sure) ....eg: C, C#, D...could be C#maj7b9...huh?....or a Cluster fucker!! :D
 
Most chords willl have a name but these days it is really a non-issue. The key thing is the root note so that you can work on a solo scale to use etc should you need to. People do not write in the classical style anymore where you had to have chord progressions etc and that is a good thing imo. One's music shouldn't be bound by the shackles of conformity. If it sounds right it is right and sometimes if it sounds wrong that's even better!
 
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