[NEWBIE] Learn from My Experience. Try Your 1st Guitar in Person Before You Buy Online
TLDR at Bottom Background: Longtime reader, first time poster. I am a 40 something that failed learning guitar from a cheap Strat copy when young. Decided to take guitar up agin late spring 2020 during Covid lockdown. I was limited to places I could order from (open). So, I could not tryout guitars in person. Left with just going off reviews of gear or from what artists I listen to play. I decided to concentrate on places close to me in case there were problems with the guitar. Also, went with a place that said they did a full setup before sale, which was important to me from my research. The place I settled on was 45 minutes away. The Gear: The first guitar I went with was a Squire Classic Vibe 70’s Custom telecaster. This was a demo model sold at a discount. It arrived with fret buzz on the low E and it appeared the brass saddles were out of whack with the whole bridge rattling. I contacted the guitar shop and sent them videos. They tried have me do adjustments over the phone. No luck in improving. The suggested sending the guitar back. I didn’t want to wait 7-10 days to receive it back. I felt like I was losing time (The irony once you read the rest of the story). They offered to return and exchange for another guitar if I brought it in person. Doing the exchange outside. I jumped on it. As I didn’t want to wait and the telecaster didn’t feel comfortable to hold or play. The guitar I exchanged it with what was available was an Epiphone Les Paul Muse. This again was a demonstration unit. I drove did the exchange. I got it home and to my disappointment there was fret buzz on Low E, A and D strings. Also, this guitar even felt more uncomfortable to play. I kept feeling like I was slouching down around the guitar to play, I’m 6’ 3”. I contacted the guitar shop again and they offered to fix or exchange. I took the exchange option again to save time and it was uncomfortable. With stock they had I settled on a Gretsch 5222. Drove and did the exchange again. This was a demonstration unit as well. This guitar was definitely the best out if the 3 comfortability wise. Sound, Fit and finish was the best too. One thing I struggled with was the thin-u neck. I found that doing chords I could never get my thumb comfortable as it was so thin by the headstock. Later, learning songs I found the bridge rattling when I did power chords and such 10 fret or higher. Sounded terrible. Turned up my amp high to try to cover the noise. I decided to change the strings (wanted to try to go down to 9’s to see if it would make easier to play) and do a beginner setup to see that would help with the help of the internets. No improvement. There are few videos and many forum posts about Gretsch bridges rattling. That is what I would hear. So, I decided to try to get this fixed under warranty going through and approved Gretsch dealer right near my house. I took the Gretsch 5222 do the guitar shop in the dealer network. The person I checked the guitar in with said he felt it was just fret buzz ant the guitar would just need a setup. At this point I’m so frustrated with the sound of the guitar I left it for the full setup for $50. The guitar was finished a week later. I arrived to pick it up and I kid you not, there was still rattle or fret buzz according to them. Although, it was slightly better. They suggested to take it home and try it out through my own amp. If there were still issues bring it back. Well, got it home and I could hear the sounds coming through the amp with headphones even. I brought it back. They worked on the guitar for an hour while I there. They couldn’t get it to stop. They did the old “That is the way it is”, “This is Gretsch’s low line”. The last ditch effort was to move back to a set of factory 10’s. This cleared rattle/buzzing on the E. I still felt like I could hear the A and D string. It was loud in there, hard to tell. I got it home. Through the 2-week holiday stretch and was disappointed that the unwanted sound was still there. I made the decision to investigate if I could trade it in. I didn’t want to be without a guitar for a week or more. Plus, I never felt good with the 5222. Still felt I was slouching over to play sometimes and the neck being so slim up top. I decided to mostly target larger semi-hallow and hollow guitars. Thought they would be better for me being taller. Researched as much as I could and targeted the usual value picks of Epiphone (335, Coupe, Sherition, 339, Casino, Rivera), Ibenez 73, D’ Angelico DC, etc. I thought the Casino was going to be my favorite. Went to Guitar Center first. Had a good selection to look at. Setups were all terrible. One was the worst I ever seen; the frets were like knives. Nothing spoke to me. A D’ Angelico DC was probably the best built there. Still felt small, but better than my 5222. It was hard to flag someone to even get a ladder for me. Couldn’t find anyone to estimate my trade. Decided to bail. There was the original well-known guitar shop I would have gone to way back at the beginning of my Journey if lock down did not happen. I got there and the staff was super helpful and knowledgeable. Totally listened to my situation. They assessed my 5222 and gave me space to look, like I should have done at the beginning. I just went around looked and held all the models. I held Semi-hallows, offsets, telecasters. Didn’t plug them in. Just felt them in my lap and hands. Played difficult chords. Listed to them resonate. It came down to 2 guitars. An Epiphone 335 Figured Blueberry figured and an Ibanez AS73FM Green Valley Gradiation. There was a clear winner side by side by holding them and plugged in. The Ibenez 73 Flamed Maple Green Valley Gradiation was the guitar for me. The shop offered me $120 less than I paid for my 5222 and I took it without thinking twice. My fingers just fit the Ibanez. The thicker neck feels great. It doesn’t make chords harder for me, it makes it easier. The guitar felt like it fit me. The sustain is fantastic, I can play unplugged. The fit and finish was good. Flamed top looks really cool and I never would have pictured me with a guitar like this. Is the tone the best in the world? No. But, I think they are averagely versatile from what I read, heard and seen. I honestly have to let the tone go. I’m such a beginner I don’t know what good tone is yet. I’m just looking for something I want to pickup all the time, makes it easier for to play and therefore learn. I will upgrade later or may be never. I may always love it. TL/DR To beginners similar myself. Don’t just go off reviews/videos and order online. Try out guitars in person first. There is plenty of advice like this that I wished I would have taken from the beginning. The guitar should feel good in your hands, lap, standing, or however you play. I have progressed more in the last 2 weeks than I have in the last 3 months with the right guitar. I really attribute this to the ease of play. I’m not fighting the guitar as much. Going in person will open your eyes to new possibilities you may not have pictured in your head. Plus, you may find issues with the guitar before you purchase. Hope this helps someone.
Trying to recreate the sounds of the Vox Conqueror and Vox UL730, as well as Rangemaster into Vox AC30 (Beatles and Rory Gallagher amp setups respectively) using Archetype: Cory Wong
Hello, I started my free trial of Archetype: Cory Wong yesterday and I am really enjoying it. I finally don't have to listen to the s*** sound of my guitar through my fuzz pedal going DI into my 2i2. I want a good sound for when I am away at college so I can record listenable demos or guitar parts for whatever it may be that I'm working on. I want to try recreating a few sounds from some Vox amps (+ a Rangemaster) used by The Beatles and Rory Gallagher using Archetype: Cory Wong. So far, I have come up with 3 decent sounding presets. The issue is mainly accuracy now. My ears tell me that I have something wrong but they don't tell me how to fix it. Here is a brief summary of the sound for each preset that I have so far. I would like to refine them and make them more accurate.
To emulate the AC30 with the Rangemaster, I have decent sounding clean tone using the Amp Snob that allows for a touch of breakup if I strike my strings hard enough.
To emulate the Conqueror, I have decently bodied, bright, transient, and aggressive fuzz-like sound using the Amp Snob.
To emulate the UL730, I have a somewhat overly ringy and nasal sound with a notable bite, again, using the Amp Snob.
If anyone thinks that some other plugin by Neural DSP would be better suited, I would consider it. However, if I understand correctly, most of the plugins are modern high gain oriented so I don't expect to likely use a different plugin. I think I read that Nolly is a good and versatile option and has a decent clean amp which I would maybe want for Rory Gallagher's clean tone depending on how it sounds. Andy from Reverb says,"but first, here's my clean tone." Also, note that I use a Fender Jazz Stratocaster so if there are any considerations that you think should be made for such pickups like the Jazzmaster pickups, be sure to account for that. Beatles tones: I am trying to figure out if I can recreate the sound of the Vox Conqueror and UL730 solid state amps used by The Beatles. The UL730 was used during sessions for Revolver and Sgt. Pepper's and the Conqueror was used during sessions for Sgt. Pepper's through Abbey Road. I do understand that the feel and behavior of a solid state amp is not going to be met exactly on the mark by an amp simulation of what I assume to be generally tube amps in Archetype: Cory Wong at least (correct me if I'm wrong). Conqueror general information
Rory Gallagher tones: Rory Gallagher used a Dallas Arbiter Rangemaster which he played into a Vox AC30. And if you thought the man couldn't have enough high end, he played a Strat too lmao. You'd be surprised about how balanced his tone was though. It didn't sound like the tinnitus from having a nuke go off in your ear somehow but anyway... Vox AC30 general information
Rory supposedly ran the amp with most controls at noon
The rangemaster was supposedly always cranked
His main control for tone was by using the guitar's knobs
Here are my presets. Feel free to absolutely s*** on them as long as you give me feedback as to how I can improve them or if you tweak them yourself. I don't find them to be amazingly accurate so any feedback would be much appreciated. I feel like they are somewhat usable aside from the occasionally ringy part for the UL730 emulation attempt. https://drive.google.com/drive/folders/10iSn9KKlxBGlykfJLfplfhDamnowy9kK?usp=sharing
OBSESSED with EQD Westwood, looking for similar pedals and complimentary pedals
I'm not new to playing guitar but until 6 months ago I just plugged directly into my Marshall or Orange and that was the extent of modifying my sound. I've since become obsessed with pedals and have sank a few grand into them since this summer. Of all the pedals I've bought, in terms of overdrives, the EQD Westwood has blown my mind. It's seemingly the perfect overdrive for my desires. But perfect is relative, so I wanted to ask if anyone felt there were better versions of something along this line? I know some people lump Westwood in as a Klon clone but my ears don't hear it. Both are advertised as "transparent overdrive" and while that is a fitting description, the two pedals seem to occupy different spaces. So with that said, what do you feel may best the Westwood? After going nuts over YouTube demos, I think the Foxcatcher by Coppersounds may give the Westwood a run for its money, as well as the Morning Glory by JHS. Next question: what is a good complimentary overdrive pedal to have after the Westwood (or before? - I'm new to pedals so knowing how to arrange pedals in the correct order is still something I'm learning). I have 1981 DRV (rat clone), Ibanez TS 9, OneSound Strawberry Red Overdrive, and a few others that didn't work for me and need to be listed on Reverb. Looking for a nice vintage-y post punk sound, anything from Chameleons to Interpol. I play an Epiphone Casino as well as a couple Gretsch's. I use a Draume and Afterneath for reverb/effects after the Westwood, with my pedal chain starting with Boss tuner, JHS Pulp n Peel compressor and Boss EQ. BONUS QUESTION About my Boss tuner, it works fine on battery power, but as soon as I plug in the power (9v from my Voodoo 2 Pedal Power) it doesn't work. Is 9v not the right power source to power a Boss tuner? I see the Boss Tuner is also the only pedal I own to have a 2nd power jack (output). No other pedal I own has that, just one single 9v power input. Do I need to use the power-out for the pedal that comes next in order to get the Boss Tuner to function properly? As of now I can only get it to work with battery power. Thanks for helping a clueless newbie out!
Ready to invest in a multi-fx pedal and new (to me) guitar - struggling on where to invest. Input would be great!
So, life/living situation (small apartment with wife, baby on the way, don't have $$ for individual pedals and amps, etc.) has had me downsizing my rig. I have a taylor acoustic electric, and a MiM fender mustang (more on that later). To me, have to be real. I won't be hitting the stage or doing big jams with people. I just want to enjoy playing at home I think I've come around to investing a multi-fx pedal. or MAYBE a combo amp that has what I want. I would love to hear what you all think I should for. I'll try and sum up what I'd like to have Budget: Less than $1000 (ideally less than $500) Longevity - looking for something that would be both software supported and last me anywhere from 4-8 years features: Built in tuner, built in looper - ideally has built it/comes with expression pedal to control this, but if it's extra hopefully not too much extra $$ Headphone jack interface/power: do most multi-fx pedals have the ability to just be self powering? for example could I just plug the pedal's power supply in, plug my headphone and guitar into the pedal, and play/listen? or do I have to also have an interface? Ideally, I do NOT want to invest in an interface. Music style: Emo, shoegaze, pop punk, indie, beatles, lots of reverb sounds/recording: ideally amp and cab simulator. editor software as well. I'll be just using my macbook and likely garageband Options I've considered: Valeton gp100, Mooer ge-150, Line 6 pod pro, Line 6 HELIX LT (big buy but it seems so awesome), boss gt-1, boss gt-100, Boss Katana, Fender gtx100 I'd love to sell my guitar (fender mustang) and either get an epiphone p90 casino, or a fender HSS. Also considering SG/les paul variants. Thanks for any feedback for anyone who has a setup similar to what I have.
Does anyone know where to get a Nick Valensi Epiphone Riviera?
I really want to find one of these but they've been discontinued. Does anyone have any idea where I could find one or if they saw one recently on ebay or something like that? Any help would be greatly appreciated, thanks.
Been looking for an 80s wine red MIJ Sheraton or Riviera (or Casino), and have mostly been checking Reverb and searching craigslist without much luck. It seems like the wine red is much more rare than the tobacco burst. I'm a bit of a rookie in hunting for guitars online and would appreciate any advice. Would I be better trying to find one in Japan and get it shipped here? Any other good forums/websites to check for old Epis? Thanks!
Album of the Year 2019 #26: Men I Trust - Oncle Jazz
Hello everyone and welcome back to Album of the Year 2019, the yearly series where the users of indieheads talk their favorite albums of the year. Up today, simonthedlgger goes in-depth on the massive Oncle Jazz from Men I Trust. Artist:Men I Trust Album:Oncle Jazz https://preview.redd.it/8af3n1rzi0741.jpg?width=1200&format=pjpg&auto=webp&s=6e1d4a18f7bb2aa4c7332be7e2042a41af87aa34 Listen: Bandcamp Spotify Youtube Apple Music Interlude I can’t believe the odds. It’s December 26th, my favorite holiday not named Halloween. A day of leftovers and familial decompression. Outside, the year is ending. Pine trees, some still webbed with lights, lay on sidewalks. Historically, December 26th is grey and cloudless. Cold, but not necessarily wintry. A void of a day, ideal for lounging and reflection. “Have a lay in,” says the universe. On December 26, it is constantly evening. And now, there is a playful bounce of synth, murmuring bass like a bear waking from a long nap ... a swell of brightness: “You’re listening to Oncle Jazz .” Allow yourself, listener, for seventy ephemeral, December 26th minutes, to be swept away in jazzy philosopop fantasy. All smiles, slide across the kitchen floor in your brand new socks, treat yo self to a warm beverage and snacks, nest in bed as opening titles fade like a path into the deep forest. I can only suggest you take that path. We’re about to Oncle Jazz. Background Men I Trust are a three piece indie pop band from Montreal, Quebec, Canada. The band was established by producemulti-instrumentalist Dragos Chiriac and bassist Jessy Caron in 2014. The pair released their self-titled debut that year, followed by Headroom in 2015, both of which featured numerous guest vocalists. After guitarist Emma Proulx became the permanent singer of Men I Trust, the band put out a series of successful singles from 2016 through early this year. After a few delays, Men I Trust released their third full length album and first as a trio on September 13, 2019. Review bysimonthedlgger
Men I Trust Radio
It’s easy to view Men I Trust as more “chill but danceable” Spotify recommendation-core. The formula is simple enough: breathy vocals over sustained synth, walking bass with jazz and/or R&B flavour, restrained rhythm section. Elevator music, if the elevator were taking you up to a Blockbusters/indie bookstore combo in the heart of Bushwick. Except, this is not our stop. Ours is an elevator ascending the Ivory Tower, granting us view of all Fantasia. Our elevator alights the lobby of the Tranquility Base Hotel and Casino, where Men I Trust and The Martini Police tradeoff headlining gigs. On closer inspection, Men I Trust’s music is neither simple nor restrained (though, production is artfully subdued throughout). It’s not even very relaxing, only enough to lull you into a vantage from which you feel comfortable enough to see yourself—perhaps for the first time—as something small within something very large, and to realize that largeness is contained within an even larger space, and so on until the mystery swallows you. (That is not to say Men I Trust do not have their utterly charming moments, i.e. the deliriously joyous sing-along opening of “Days go by and I still don't know how and why I still make my way without you, without you.”) On Oncle Jazz, Men I Trust plays timewarped pocket groove music, pulling together elements of modern pop, softrock, plenty of jazz (on show in their latest instrumental single, “Alright,”), and of course assorted lofi/synth/indie/sweet dreams pop, to make something distinctive, comforting but unnameable. Several interludes further expand the scope of the Oncle Jazz structure, from the absurd funk of “Slap Pie” to the smoking “Fiero GT," lest we forget the balletic mystery of closer “Poplar Tree," which would sound fitting over melancholy credits to a Miyazaki film. There’s a votive quality to the loop-like nature of the band’s arrangements, cycling frames that range in form from waves of Sega ambience to controlled yet driving beats which draw equally on the electronic and organic. So much happens within the confinements of these loops, yet every moment remains isolated, carefully placed. The songs sound like secrets, but not puzzles for the sake of puzzles: there is an answer to every riddle, a worthwhile conclusion. “We like to use a lot of repetitive movements in melodies and chord progressions to give the songs a prayer-like rhythm,” Dragos told Crack Magazine, describing the band’s desire to draw listeners deeper into their sonic narratives. The recurring musical movements are complemented by an economy of words the band often discusses:
“I will ... find the way in which I can concentrate [a thought’s] meaning, saying the most with the least words. It’s Bernstein’s idea of poetry and it’s also a necessary constraint inherent to the song genre,” Dragos told me. “Sometimes, these ideas end in Men I Trust songs.”
The band takes this minimalist approach to either ends of the spectrum, always leaving room for the listener to process and derive meaning. Compare the simplicity of “All Night” (“You wrap my feet in coloured blankets, so I stay here all night. You keep the one with many moons and stars, it’s always for my shoulders,”) to the stark poetry of “I Hope to be Around” (“I dream of my future, remote from time bounds, becoming myself without any end.”)
Oncle Jazz
The clarity with which Men I Trust operates is evidenced not only in the deliberate arrangements and concise lyricism of Oncle Jazz, but the actual conception of the record. Initially delaying the album after touring prevented the trio from finishing, then calling an audible the night before Oncle Jazz was scheduled for upload to major streaming services, there is never a sense of hurry when discussing Men I Trust. Rather, tranquil precision. Achieving the ideal mix played a large part in the album’s prolonged incubation, with eight singles being remixed for their place among the 24 track album (several considerably so). The songs settle softly in the mix, warm pop rhythms bouncing off watery jazz. “I don’t think loud songs will give the best listening experience in years to come,” Chiriac told Billboard. I agree: Oncle Jazz invites you to absolutely bump the volume, clarifying the perfectly shaped bass tones and depth of reverb, the myriad details, without going deaf (fun fact, I did a write up on Angel Olsen’s All Mirrors for popheads, and the mixes on these two albums could not be further apart). On “Seven,” you can hear prospective lovers whispering across a dying campfire. The rustic “Pines” paints an immense but lonely landscape (“She moves like wind by deserted pines who stand tall, unstirred,”). After completing touring obligations, the band returned to Oncle Jazz. “When we spend too much time on the road, we miss being able to settle, to write and record without disturbance,” Dragos says over email. “Listening to a finished song, or album, is the most fun part of recording.” Recording for Oncle Jazz took place in the green quiet of rural Quebec, which no doubt influenced the hushed mix (they’ve described the album as consisting of all “winter songs,” which isn’t a bad description by any means, but the undeniable warmth of Oncle Jazz makes one wonder what a summery MIT album sounds like). “It put us in a really different creative mood ... there’s nothing to do outside of the house except for walking and thinking about music,” Proulx said (Billboard). Indeed, the band have frequently described how their music focuses on the ways individuals play a small role within the macroscopic natural world; this sense of humble realization is all over the record. When further pressed, the band typically says songs are simply about friends. The interplay of the cosmic and intimate is one of several unifying threads that elevate Oncle Jazz from a standard LP release to a greater musical movement. For, Oncle Jazz is its own radio station; at one point on the album, Emma clues the listener in: “You’re listening to Radio Men I Trust,” and I can’t help but responding, “Yes, I sure am,” every time. It’s a station wound in the layered textures of the Arturia Mellotron and Yamaha DX7; though, as with any decent station, there are a bevy of unexpected gifts.
My friend, you know, you had your time awhile..but I'm willing to give you mine.
Late in the Oncle Jazz sequencing comes “Something In Water” like a plaintive siren out of the mists, “In this land with no sea, hoping time forgot me, 'cause I don’t need your love, only your full weight on me.” Guitars take the forefront, a rarity on Oncle Jazz, especially the submerged acoustics and posthardcore/proggy chorus lead that surprises at 2:22. “Dorian” consists of brilliant world building by the Zora River, recalling dreams of C.R.E.A.M. and nights spent shooting the shit with friends outside the corner store. You’ve heard the chorus melody a million times since you were young, but, no, it’s a melody only Proulx could deliver, her voice resembling bells and woodwinds more than vocals. “Found Me” sounds like Nirvana. “Say Can You Hear” has that new wave drive. The groove of “Air” is otherworldly. A mildly brooding verse spills into the euphoric hook: “So I thought you could come over mine...some time. Our loneliness now gone.” As with many Men I Trust songs, “Air” does not fade out, but dances away.
My friend, you have a vivid quill.
Despite the inescapably dreamy qualities of Men I Trust’s oeuvre, there’s a decidedly grounded sense to their work, a desire for clarity -- the contrast brings yet another level to the listening experience, lyricism weaving between daydreaming and existential doubt. “I Hope To Be Around” plays with Platonist-Socratic concepts (“I hope to be around the day we grasp in truth the nature of mind befriending time, in truth,”), though the breadth of lyricism and philosophical ideology (J.S. Mill to Goethe) makes it clear all members contribute to the writing process, questioning many aspects of self-significance and morality. “For me, these contradictions make for a weird literary genre, at once positing the insignificance of humans and the god-like invulnerability of men and women of good. It’s horrifying and reassuring (the power of truth), sublime (greater than ourselves), and f---g funny,” I’m told. “It’s like watching a horror comedy. It’s a mix of emotions cancelling each other and it leaves me feeling like a blindfolded fool, puzzled with a donkey tail in his hand.” Read through a few Men I Trust songs, and at least one line will leave you handling a donkey tail of your own. Of course, all Men I Trust lyrics are refracted through Proulx’s mesmerizing vocals. A French speaker, she has described the English language as another instrument (I challenged myself not to use the word ‘ethereal’ in describing her voice. Or ‘gossamer.’ Or ‘gauzy,’ ‘gracile,’ or even ‘as a light rain.’ So, I will not.). Her instrument contains multitudes.
Men I Trust Lives
It’s a bit mystifying to reconcile the immaculate production behind Oncle Jazz and the band’s relentless, globe-spanning touring schedule, delays or not. Men I Trust’s fully realized sound on Oncle Jazz translates beautifully to the stage. “When we spend too much time working on recordings, especially on a long double album, we look forward to getting outside and touring,” they tell me. For Men I Trust, both playing live and recording are exciting paths to becoming better musicians, a thrilling prospect for fans. “The end results of both are especially rewarding.” Shortly before finishing this write up, I saw the band play a double header at Boston’s Royale and the Sinclair in Cambridge. Men I Trust played as a five piece, yet remained committed to the halcyon aesthetic: a t-shirt remained over the snare for the duration of the set, cymbals were chained, Emma’s vocals were so quiet you couldn’t hear her speak between songs -- even the roaring denouement of a guitar solo that closes “Seven” managed to melt faces without piercing ears. No, Men I Trust does not make simple, chill out music. They make music difficult to fully grasp, no matter how welcoming the sound, how natural the fit. Now, our time is at an end. Favorite Lyrics
I don't want to feel a world against our love. I don't want to grow old, a lone broken heart.
"Norton Commander"
I'm happy my home found me, by which force I do not know. I found my home and it grows by me in beauty.
"Found Me"
In a midway I stand where many stood only to come home again. Walking through these streets I know too well but my thoughts stray away.. I dream of my future, remote from time bounds, becoming myself without any end.
"I Hope To Be Around"
My friend, you have a vivid quill, a gift you need to use to feel alive. Those hands look like crooked roots. Pour them the right stuff and feel alive.
"Pierre"
Talking Points
Do you prefer the single or album versions of songs such as “Seven” and “I Hope To Be Around”? Please elaborate :)
What do you think a “summer” Men I Trust album would sound like, and more generally, what aspects of their sound would you like to see expanded on moving forward?
What other fully independent bands should Indieheads be listening to in 2020?
Thank you to simonthedlgger for their sprawling write-up! Tune back tomorrow as NMHipsterTrash is scheduled to talk Surf Curse's Heaven Surrounds You. In the meantime, discuss today's album and its write-up in the comments below!
A couple years back I bought a Casino Stage Series guitar in an Australian pawn shop and at the time I couldn’t find any information on the brand and to this day I still cannot find anything on the brand besides reverb listings for similar ones. Can anyone help?
Artist: A$AP Rocky Album: TESTING Listen: Spotify Apple Music Tidal Background On December 19, 2016, about a year and a half after his last project, Harlem rapper A$AP Rocky uploaded a snippet to his Twitter account with a single word caption; “TESTING…” The song previewed in that tweet was never released, but the hype from it set off the TESTING hype train. Unfortunately for fans, most of 2017 didn’t give us much new information when it came to the album. We got a few features and a new A$AP Mob tape, plus we heard a few snippets, but there was no new solo Rocky. On January 23, 2018, fans finally regained hope for an album drop. A long-awaited snippet, “5IVE $TAR$”, aka “Wok”, was released on Soundcloud. The next day, “ABOVE” was released. And the next day, a freestyle over Babyfather’s “Meditation” was released. Though the singles received mixed receptions, they were a positive sign for the album. And once again, Rocky went ghost. It took another couple months for a proper single to be released on streaming sites. “Bad Company” with BlocBoy JB was released in March. About a week later, Rocky appeared on Jimmy Fallon, where he performed two new songs, “Distorted Records” and “A$AP Forever”, the latter of which was released as the first actual single from the album a day later, accompanied by it’s music video, which stands as one of the best of the year. And finally, FINALLY, TESTING dropped on May 25, 2018, to mixed reception from fans and critics. Review The album opens up with “Distorted Records”. The simple, distorted production gives Rocky enough to work with and make a banger of a track. Although the track is short, it serves its purpose as an intro. The song then transitions beautifully into a new version of the album’s first single, “A$AP Forever”, this time with an added verse from Kid Cudi. I absolutely love this song. It feels like it could have come out in 2011 when Rocky was first coming out. The beat is super airy, the drums are punchy, and Cudi and Rocky both deliver on their verses. The breakdown at the end with Moby’s vocals is a great use of the sample, and also gives the song a more uplifting vibe. The next song on the trackless is “Tony Tone”, which was heavily anticipated by fans due to snippets. The guitar loop and drums have an old-school feel, but the distortion brings it into Rocky’s world. Lyrically, Rocky talks about fashion, his lifestyle in Harlem, and even addresses A$AP Bari’s sexual assault scandal. Next up is “Fukk Sleep”, which features British singer FKA twigs. The song continues the airy production, with Rocky and twigs’ voices both drenched in reverb. “Praise The Lord (Da Shine)” with Skepta was the second single from the album, and for good reason. It’s the closest thing the album has to a typical club banger, with a bouncy, bass-heavy, Skepta-produced beat that could be mistaken for something Pi’erre Bourne would make. Skepta handles the hook, with him and Rocky both getting a verse, plus the final verse where they trade bars. It’s not a particularly deep song, but it’s super fun and energetic, and it’s easy to why it became one of Rocky’s biggest hits. The following song, “CALLDROPS”, is less of a proper track and more of a short interlude. Though it’s pretty short, it actually showcases themes which come up a lot across the album. There’s the chopped and slowed sample in the beginning, the guitar sample, very airy, reverb’d out vocals, and another across-the-pond collaboration, this time with English singer-songwriter Dean Blunt, who sings the chorus along with Rocky. The song then ends with Kodak Black, then incarcerated, singing us a verse from inside jail, ending the song on somewhat of a poignant moment. After the short interlude, “Buck Shots”, which features AWGE artists Smooky Margielaa and Playboi Carti, brings the tempo back up. The production sounds like what I’d imagine trap music will sound like in the year 3000. And while I love Rocky’s part and Carti wasn’t shabby, the real highlight is Smooky. His autotuned voice and the beat mesh perfectly and I’ll be damned if “Got them bullets aimin’ at your head top” isn’t a super hard way to start the verse. “Gunz N Butta” again shows off Rocky’s skill at blending different musical styles together. The track is most obviously indebted to ‘90s Memphis rap with the Project Pat sample, but also sampling Dean Blunt’s Babyfather project. Next is “Brotha Man”, one of two collaborations with Frank Ocean on the album, and which also features French Montana. French comes with a wavy hook, and Rocky delivers a solid verse. Frank’s contributions are limited to a couple lines in the bridge and an outro, which is admittedly a little corny, thought I like his reference to Trump at the end. Though “Bad Company” ended up not making the album, “OG Beeper” gave us another collaboration with BlocBoy JB, though he’s wisely relegated to adlib duty this time. Though this is one of my least favourite songs on the album, it’s still entertaining, with Rocky talking about life before fame, his time in prison, and his current modelling endeavours. The production is weird enough to where I’m still really enthralled by the song. The following song, “Kids Turned Out Fine” is another guitar-based song, The effects on the guitar and Rocky’s voice give it a psychedelic, wonky feel. “Hun43rd”, which feature Blood Orange’s Devonté Hynes, is another highlight. Rocky’s rapping is super smooth over the beat’s G-funk esque synth works great. Dev’s hook sounds beautiful, and the chopped Thug Life sample fits in perfectly. We also hear a a classic Rocky maneuver, with his voice changing pitch. The outro with Tyler and the Mob is also a nice touch, showing Rocky’s crew. “Changes” is a three-part epic. The first features Rocky rapping over just a guitar talking about a former lover, before the beat drops. The next part has a more ‘90s feel, and is Rocky at his more braggadocios, and the final part returns to the guitar of the first part. Honestly, there’s not much I can say about this song besides that it’s beautiful. “Black Tux, White Collar” is a long-awaited collaboration between Rocky and producer Clams Casino. The Clams beat is exactly the type of beat I would’ve wanted from him, it’s super atmospheric and the drums work well without doing too much. It’s a throwback sound from Rocky, with a flow that’s reminiscent of his first tape. The last song on the album is “Purity”, which features none other than Frank Ocean. The beat (also guitar-based) is initially simple, but as the track goes on, grows with new layers. The Lauryn Hill sample on the hook is great and Frank snaps on his verse. On the other hand, Rocky delivers a verse that doesn’t really adhere to the beat but still works. It’s a great closer to the album. I’m not gonna sit here and say that TESTING is my favourite Rocky album, because it’s not. I’m not gonna say it’s perfect, because it’s not. But I will say it’s a damn good album no matter what people think. Throughout the album, Rocky blends so many different influences, samples, and styles, but still manages to make an album that gels together extremely well. Recurring themes like chopped samples, psychedelic guitar loops, and airy vocals help give the album a sense of cohesion. A large portion of the criticism was about the album being “boring” or “one note”, but I disagree. There are quite a few slow paced songs that are somewhat light on drums, but that doesn’t make a song boring. And it certainly doesn’t make the album as a whole boring, because songs like “Tony Tone” or “Buck Shots” is anything but. There are so many unique songs and collaborations on this album. TESTING may not be everyone’s cup of tea, but to me, it sounds like the future of rap music. Favourite Lyrics
The bigger they are, the harder they fall Like dominos, nigga, Geronimos When it's my time to go, adiós, vámonos Flacko no Dominicano but eat the tostones with plátanos
“A$AP Forever”
Pockets loaded, rocket loaded, okay, let’s rock and roll this It’s time to go, Lock, Stock and Two Smoking Barrels Locked and loaded, diamonds glowing, chart-climbing on ‘em
“Praise The Lord (Da Shine)”
Grandma was a Catholic, and mama was a Christian My pop returned to Muslim when he spent some time in prison No Jehovah Witnesses where I’m from, kinda different They don’t leave no witnesses so folks just mind they business
“Gunz N Butta”
Two more drinks of everything before the bar closed Face to face with my demons at a barstool Haven’t checked on my niece in weeks Months past and months in between since me and my sister would speak Not a call or visit in weeks, lost, nothin' since the September last Seen her September '16, man it feels like “I’m undone because” Lose someone every release, it feels like the curse is in me A$AP Press is gone and I grief, I share with you my peace
Purity
Talking Points
If the album had a less rocky rollout (pun intended), do you think the reception would be different?
How do you feel Rocky’s collaborators (Dev Hynes, Frank Ocean, Dean Blunt, Playboi Carti) influenced the direction of the album?
Where does Rocky go next? What would you like out of his next album?
I'm selling some of the music gear I have so I can buy a new guitar for the holiday deals, but I'm stuck between which one I should buy. My situation is a Riviera Custom P93 vs. a Casino Coupe. I've heard incredible things about both guitars, but both of them also seem to have their cons when comparing each other. The Casino gets more feedback since it's a full hollow-body (the Riviera is semi), but the Riviera has the Bigsby trem, which I've heard will knock the guitar out of tune very easily. The Riviera also has the additional pickup, but I honestly don't know how much that will matter in the context of hollow-body guitars. I'm looking for a guitar that can provide a warm lead, but can maintain a distortion effect when needed. Think in the realm of modern indie rock with a ~$400 budget (I've found both guitars on Reverb for close to that price). Any second opinions I can get before I make a purchase?
So I've been playing for about 2 and a half years and I've decided I'm gonna buy my second guitar. I've had an Epiphone Les Paul Standard Pro (http://imgur.com/a/R6bRMQt) for about a year. I'm thinking about either selling this one and buying a used Gibson Les Paul Traditional (I found one on reverb for about 1600€), or going for something different like a hollow/semi-hollow (Epiphone Casino is a strong contender) or an acoustic guitar. Any suggestions? My budget is of about 2000€, I've been saving for a long time.
Pretty happy with my current setup which is mostly Nash/Casino/LP->pedal->Vox. https://imgur.com/a/SJHfvKa Guitars (L-R) Partscaster telecaster (all-parts neck, double bound MJT body, "closet-clean" relicing with custom wound PAF in neck) Danelectro 12-string Squier J Mascis Jazzmaster (only mod is sanded down neck) Nash T-52 MIK Epiphone Casino (swapped in Kent Armstrong low output p90s, stripped finish from neck) 80s Burny Super Grade Les Paul Partscaster CoodercasteStratocaster (w/Fralin Big Single in bridge) Epiphone viola bass MIM Fender P-bass Pedals Ditto looper Donner Delay Boss CS-3 Compressor Xotic EP Booster Ibanez mini TS Boss BD-2 Boss TU-3 Amps Vox AC15 stock Fender Deluxe Reverb Reissue (with Eminence GA10-SC64, Tung Sol powers/pres, Z bake attenuator That's most of it not including a couple older guitars, any acoustics, and practice amps.
I wanted to share my latest pedal-filled album (and answer your pedal/recording questions)
Hey pedal people. Almost 2 years ago I shared my first album with this sub. The reception was very positive, so I thought I'd share my follow-up! Here's a link to Bandcamp (totally free), and I finally got my music on Spotify (thanks, DistroKid). This time it's even more spacey, ambient, chaotic, and effects-heavy. The basic style touches on post-rock, indie, ambient, and progressive. If you're into bands like Radiohead, EITS, 65daysofstatic, Hammock, The Dear Hunter, Mogwai, or Porcupine Tree, you might like it. It took me nearly 2 years to write and record this, and the process started before I even released my last album. I totally changed my guitar setup this time - just about everything was recorded DI from my Bassbreaker 15 and Yamaha THR, with cab-sim applied in post. Bass was recorded with a Sansamp BDDI. Only drums were mic'd up. Going DI made things much easier and gave me more time to focus on production. This is also the first time I recorded in stereo, which made a huge difference for ambient swells and drones. I took a lot more influence from ambient and classical artists in general, such as Hammock and Olafur Arnalds, which I think you can hear in the pads and strings throughout the album. To keep this focused on pedals, here's the basic signal chain I used for most of the songs. I'll bold pedals that were used frequently. Mooer Yellow Comp > EHX Pitchfork > Bearfoot HoneyBee > Walrus Mayflower > Spruce Effects Saltwater Fuzz > BAT Pharaoh > Catalinbread Montavillian > Strymon El Capistan > EHX Small Stone > Strymon Flint > Empress Reverb (stereo out). Other gear included an EQD Dirt Transmitter, Red Panda Context, ss/bs Mini, Foxpedal Defector, and some other random gear. Guitars were mostly an American Special Tele, Classic Player Jazzmaster, Hagstrom Viking, and a Squier Jaguar bass. I also used an Epiphone Casino and a modded HSS Strat on a couple songs. Please feel free to ask about the effects, gear, or production techniques I used on any part of the album. This is guitarpedals after all, so if you want to know the pedals at 1:27 in a specific song, ask away. I'd also be happy to share some advice on recording from home if you want to start producing your own music. Thanks for listening, and happy pedaling!
[Discussion] How did you choose which electric guitar to purchase? Out of my 6 or 7 choices I’ve no idea which one I should get. Help?
More and more I’ve been moving in a music direction where an electric guitar is important to what I’m going for. I have a 1985 Les Paul Studio Standard and it’s a great guitar, but it is too heavy in both senses of the word, when I play it standing up I get a back ache after awhile and there is no getting around the fact that humbuckers put out a sound that is too heavy for what I like to play now. I plan on selling the Les Paul as these seem to be going for somewhere between £1100 and £1600 and putting that toward a new instrument. I’ve no idea what guitar I want though. I did some research on what guitars were used on the records that inspire me like Bowie’s Young Americans, Station to Station and Berlin Trilogy, Mahavishnu Orchestra’s Meeting of the Spirits, Fripp and Eno’s No Pussyfooting, Cluster and Eno, Brian Eno’s Another Green World, Discreet Music and Music for Airports, Robert Fripp’s Exposure and God Save the Queen, The White Album and Rubber Soul etc. and it seems that all of the popular guitars were used to make music that I love so that wasn’t much help. I went to the guitar shop and tried a Fender Telecaster, Stratocaster, Jazzmaster, a Rickenbacker 330 and 620, an Epiphone Casino, Gibson Les Paul Special and SG Special and all I was able to ascertain is that the Les Paul and SG still sound too heavy, even with P90 pickups, I liked the rest a lot and I can see how they all might do the job. Further, I plan on purchasing a used and broken in instrument over a new one and of course I did not have my amplifier with my valves and my reverb tank and my tape loops, so I could not know how each would sound when I play at home or with my band. How did you choose your guitar? What advice would you give me when it comes to making a choice? I’ve never had this issue with my acoustic guitars, as soon as I could afford it there was never a question that I wanted anything other than a Gibson J-200.
Once a vinyl purist, now a full-on digital advocate. Here's why.
This is going to roll some heads, but before you go nuts on the downvotes, let me at least pander my case for digital audio, and why I believe it to be superior in terms of sonic accuracy. I am not referring to the emotion of holding, smelling, hunting, seeking out and taking home vinyl, as the intimacy of pulling a jacketed virgin vinyl out of it's jacket sends chills up and down your arms in ways only a woman can. This is strictly referring to sonic accuracy, and not in terms of listening preference. I am not saying that those who prefer the sound of vinyl are wrong for preferring that sound. That is completely asinine. I love bass; that does not make my listening preference moot. I am simply talking about vinyl being inferior for reproduction of audio accurately, when compared to digital. That is all. We are currently in a bit of a catch-22 with music, and let's start with the one thing that makes both formats either shine, or suck: mastering. When vinyl was pretty much the main way to listen to music, the mastering artists had a bit of a problem with vinyl mastering. Namely, vinyl mastering has to essentially have exceedingly exaggerated treble and relaxed bass, because of various factors such as groove distance and amplitude of the etching on the surface. For reference, watch this video on vinyl mastering. It provides an excellent comparison between mastering for vinyl, and for digital. The catch-22 of mastering is that because of these limitations, only the most skilled and the most attuned ears could be successful (cost of entry, rarity of equipment, sonic knowledge), so the quality of audio recordings were generally excellent. Vinyl inherently prevents compression, because that would require all sounds to essentially be equal volume, which means that a needle would literally be running on sandpaper as every sound competes to be just as loud as the next. So recording studios went for softer recordings, which allowed more dynamic range and then meant that panned instruments and little garnishes would separate their vinyl from the rest (think DSOTM). However, to prove my theory on mastering, one should look at vinyl pressed in the late 80's, namely club vinyl. These vinyl came at a time when synthetic sounds and big, splashy bass was a thing. If you listen to the quality of a club track on vinyl, especially one that was cut to be loud, you can hear noticeable distortions when you get to parts of tracks that have loud vocals clashing with big bass lines. A physical needle, no matter how light, still has to deal with physics. So when we started venturing into the digital realm of audio, the problem of vinyl was not having enough resolution to encapsulate exceedingly loud and dynamic tracks (think mid to late 90's, when Carl Cox and Tiesto were the names to know). Digital recordings, in comparison especially high-resolution files, have so much dynamic range with NO NOISE FLOOR. Which brings me to my second point: noise floor. I recently did a comparison between an immaculately cleaned, never played before vinyl from Missy Elliot- Get Your Freak On. (I am aware that most of you are currently spinning in your seats at me using a pop master, but I chose this because when referring to sonic accuracy, a medium should never be part of the problem in the reproduction of any sonic composition, whether it be Moody Blues, The Brothers Four, or Eminem beating Kim Kardashian to a beat.) It was a club single, on a 33 1/3rd vinyl, but I had a digital version on hand that I got from the studios themselves. I was at Stereo Exchange, and I had the Bowers and Wilkins 805D's paired to a Devialet 120, which for those of you who don't know, is literally the best sounding amp on the market, period. Look at the specs for yourself, and trust me, it's not snake oil. It really is as good as they say. The reason it's the best? Try having:
0,001%
THD+noise (harmonic distortion) at full power
0,001 Ω
Output impedance
0,001%
Intermodulation - SMPTE IMD
130 dB
Signal-to-Noise Ratio
Only a year ago, specs like that were a dream in most audio component manufacturing labs. Now, it's in something you can buy for your home. The vinyl version sounded great; the massive bass line sounded splashy and gorgeous, but there was still minor distortions, but mainly, a faint, soft hum that those diamond tweeters really put forward. That hum is simply the drag of the needle against the surface of the record. No needle, no turntable, no magic interconnects will eliminate the simple laws of physics. Then, as you turn up the volume, that hum gets more noticeable. Most vinyl purists can tune it out, but when you get to soft passages, nothing ruins your listening more than that hum. With Digital recordings, if there is no noise present from the time of recording, there will be no noise on the track. Sure, even the most advanced mics, mixing boards, and computer soundcards will have some trace element of hiss from, you know, being powered by electricity, but it would be such an incomprehensible amount that it might as well just be called nonexistent for audio listening purposes. Despite playing back this record on a custom 20 or so pound turntable, with one of Ortofon's finest cartridges (Xpression), it could not in any way hold a candle to the digital version. Bass notes went from being splashy to exceedingly tight, yet having way more body and impact. Missy leapt out the center of your soundstage and right between the eyes. Switch to a quiet, super dynamic and haunting passage like "Vesper" (Casino Royale Soundtrack) and softer elements seamlessly shine through, with quavering reverb, and silence when there should be silence. There are no pops, no hisses, no hums, no noise where there shouldn't be noise. Just piano notes, bow strings, and the faintest sound of air in the recording studio, mixed with the subtle weight shifts of the pianist and orchestra. The depth and scope of the recording shines through. So back to mastering: what is this catch-22? Well, no more are the days of complex machinery to capture audio, cut it onto a record with a sapphire needle, make a reverse press plate, etc. Now, recording was as simple as a few microphone preamps, an ASIO soundcard, and a DAW. As synths and software progressed, the music industry could now deliver pop smash hits with tons of compression (loudness) that to 99% of people, would sound purely awesome compared to records of old. So dance music, and hard driving beats became the norm. People wanted more of this newfound sound (deep and substantial bass, with crisp and edgy highs). Equalization moved towards the "V", and we all went down with the ship. But the problem many vinyl enthusiasts misappropriate to being digital is not because it is digital, but because of what digital has created: higher quality becoming normal to deliver lower quality. Have you ever really thought about the fact that with digital recordings, you can get as low as 15hz or as high as 22khz (or even higher)? Most vinyl recordings don't go past 18khz because it would just be physically impossible to do that. Also, think about the fact that you can make sounds so soft blend with sounds so loud with no noise or crosstalk between them that the speakers you're playing these songs on, or the amp that drives them, will be the only reason why you either hear them, or not. But because you can now get loudness and complexity with no distortion, or you can get stupidly high loudness with just a touch of distortion, why choose the former when people like the latter? Now that music is almost purely driven by revenue, do you think that big conglomerate music organizations will spend time on mastering, when the people who keep their money rolling in want BASS AND TREBLE? Then there is the issue of "teaching older dogs new tricks". Most people spent their lives listening to vinyl, and AM/FM radio, over speakers that, when compared to today's hifi, are downright laughable. Over the years, that sound of relaxed, "warmth" (which is really sonic coloration) becomes normal and anything outside of it causes turmoil within the mind. Sure, they are now listening to those records on thousands of dollars of modern equipment, but they say that digital sounds "cold". No, it's not cold sounding. It's more accurate. I'm not in any way, shape or form, writing off what they think is good, but I'm saying that they need to stop writing off digital for sounding "cold" and "digital", because you can't admit that your preference is not accuracy, but emotion. Yet, I run into vinyl hardcore guys time after time, but when they leave, they're looking for digital tracks. Why? Well, when you play a 192khz/24bit symphony piece over a quality hifi setup, especially at loud volumes where the timpani hits are felt, and the vibration of a cello's strings rattle your chest, and the brass section blares through just as loud as being front row at the Philharmonic Orchestra, yet there's some sort of bell off to your upper right that you just realized was there, they realize what they've been missing. The lack of hiss, hum, but the presence of barely heard syllabic sounds like fingers on a guitar string still being heard despite the deafening roar of a wailing guitar is a reminder that while yes, most digital music nowadays sucks, writing it all off is you blaming digital for human mistakes. Blame not the format, but the person behind the board. I challenge the most hardcore vinyl purists to compare "Vogue" by Madonna off of a vinyl, to a proper quality digital version (you might need to get an older CD that wasn't "remastered" (given more compression) to do this comparison). I say this because this song is easy to find on vinyl thanks to the popularity of it at the time. But this track has excellent mastering for what it is, being a pop track, and when compared vinyl to digital, really shows which format excels at transmitting the song best. Heck, even Janet Jackson's "Let's Wait A While" is an excellent comparison choice. Just try it.
I would like to take this time to thank many of you in both /vinyl and /audiophile for reminding me that "vinyls" is incorrect, and that vinyl is inherently both plural and singular. I have also edited these posts to further emphasize that I am only talking about digital being better than vinyl in a purely auditory and scientific manner, in relation to the REPRODUCTION of audio. I have also corrected minor errors in terminology and grammar, and will continue to edit this post if more mistakes are to be found.
I love vinyl. I really do. But here's why I think digital is better.
This is going to roll some heads, but before you go nuts on the downvotes, let me at least pander my case for digital audio, and why I believe it to be superior in terms of sonic accuracy. I am not referring to the emotion of holding, smelling, hunting, seeking out and taking home vinyl, as the intimacy of pulling a jacketed virgin vinyl out of it's jacket sends chills up and down your arms in ways only a woman can. This is strictly referring to sonic accuracy, and not in terms of listening preference. I am not saying that those who prefer the sound of vinyl are wrong for preferring that sound. That is completely asinine. I love bass; that does not make my listening preference moot. I am simply talking about vinyl being inferior for reproduction of audio accurately, when compared to digital. That is all. We are currently in a bit of a catch-22 with music, and let's start with the one thing that makes both formats either shine, or suck: mastering. When vinyl was pretty much the main way to listen to music, the mastering artists had a bit of a problem with vinyl mastering. Namely, vinyl mastering has to essentially have exceedingly exaggerated treble and relaxed bass, because of various factors such as groove distance and amplitude of the etching on the surface. For reference, watch this video on vinyl mastering. It provides an excellent comparison between mastering for vinyl, and for digital. The catch-22 of mastering is that because of these limitations, only the most skilled and the most attuned ears could be successful (cost of entry, rarity of equipment, sonic knowledge), so the quality of audio recordings were generally excellent. Vinyl inherently prevents compression, because that would require all sounds to essentially be equal volume, which means that a needle would literally be running on sandpaper as every sound competes to be just as loud as the next. So recording studios went for softer recordings, which allowed more dynamic range and then meant that panned instruments and little garnishes would separate their vinyl from the rest (think DSOTM). However, to prove my theory on mastering, one should look at vinyl pressed in the late 80's, namely club vinyl. These vinyl came at a time when synthetic sounds and big, splashy bass was a thing. If you listen to the quality of a club track on vinyl, especially one that was cut to be loud, you can hear noticeable distortions when you get to parts of tracks that have loud vocals clashing with big bass lines. A physical needle, no matter how light, still has to deal with physics. So when we started venturing into the digital realm of audio, the problem of vinyl was not having enough resolution to encapsulate exceedingly loud and dynamic tracks (think mid to late 90's, when Carl Cox and Tiesto were the names to know). Digital recordings, in comparison especially high-resolution files, have so much dynamic range with NO NOISE FLOOR. Which brings me to my second point: noise floor. I recently did a comparison between an immaculately cleaned, never played before vinyl from Missy Elliot- Get Your Freak On. (I am aware that most of you are currently spinning in your seats at me using a pop master, but I chose this because when referring to sonic accuracy, a medium should never be part of the problem in the reproduction of any sonic composition, whether it be Moody Blues, The Brothers Four, or Eminem beating Kim Kardashian to a beat.) It was a club single, on a 33 1/3rd vinyl, but I had a digital version on hand that I got from the studios themselves. I was at Stereo Exchange, and I had the Bowers and Wilkins 805D's paired to a Devialet 120, which for those of you who don't know, is literally the best sounding amp on the market, period. Look at the specs for yourself, and trust me, it's not snake oil. It really is as good as they say. The reason it's the best? Try having:
0,001%
THD+noise (harmonic distortion) at full power
0,001 Ω
Output impedance
0,001%
Intermodulation - SMPTE IMD
130 dB
Signal-to-Noise Ratio
Only a year ago, specs like that were a dream in most audio component manufacturing labs. Now, it's in something you can buy for your home. The vinyl version sounded great; the massive bass line sounded splashy and gorgeous, but there was still minor distortions, but mainly, a faint, soft hum that those diamond tweeters really put forward. That hum is simply the drag of the needle against the surface of the record. No needle, no turntable, no magic interconnects will eliminate the simple laws of physics. Then, as you turn up the volume, that hum gets more noticeable. Most vinyl purists can tune it out, but when you get to soft passages, nothing ruins your listening more than that hum. With Digital recordings, if there is no noise present from the time of recording, there will be no noise on the track. Sure, even the most advanced mics, mixing boards, and computer soundcards will have some trace element of hiss from, you know, being powered by electricity, but it would be such an incomprehensible amount that it might as well just be called nonexistent for audio listening purposes. Despite playing back this record on a custom 20 or so pound turntable, with one of Ortofon's finest cartridges (Xpression), it could not in any way hold a candle to the digital version. Bass notes went from being splashy to exceedingly tight, yet having way more body and impact. Missy leapt out the center of your soundstage and right between the eyes. Switch to a quiet, super dynamic and haunting passage like "Vesper" (Casino Royale Soundtrack) and softer elements seamlessly shine through, with quavering reverb, and silence when there should be silence. There are no pops, no hisses, no hums, no noise where there shouldn't be noise. Just piano notes, bow strings, and the faintest sound of air in the recording studio, mixed with the subtle weight shifts of the pianist and orchestra. The depth and scope of the recording shines through. So back to mastering: what is this catch-22? Well, no more are the days of complex machinery to capture audio, cut it onto a record with a sapphire needle, make a reverse press plate, etc. Now, recording was as simple as a few microphone preamps, an ASIO soundcard, and a DAW. As synths and software progressed, the music industry could now deliver pop smash hits with tons of compression (loudness) that to 99% of people, would sound purely awesome compared to records of old. So dance music, and hard driving beats became the norm. People wanted more of this newfound sound (deep and substantial bass, with crisp and edgy highs). Equalization moved towards the "V", and we all went down with the ship. But the problem many vinyl enthusiasts misappropriate to being digital is not because it is digital, but because of what digital has created: higher quality becoming normal to deliver lower quality. Have you ever really thought about the fact that with digital recordings, you can get as low as 15hz or as high as 22khz (or even higher)? Most vinyl recordings don't go past 18khz because it would just be physically impossible to do that. Also, think about the fact that you can make sounds so soft blend with sounds so loud with no noise or crosstalk between them that the speakers you're playing these songs on, or the amp that drives them, will be the only reason why you either hear them, or not. But because you can now get loudness and complexity with no distortion, or you can get stupidly high loudness with just a touch of distortion, why choose the former when people like the latter? Now that music is almost purely driven by revenue, do you think that big conglomerate music organizations will spend time on mastering, when the people who keep their money rolling in want BASS AND TREBLE? Then there is the issue of "teaching older dogs new tricks". Most people spent their lives listening to vinyl, and AM/FM radio, over speakers that, when compared to today's hifi, are downright laughable. Over the years, that sound of relaxed, "warmth" (which is really sonic coloration) becomes normal and anything outside of it causes turmoil within the mind. Sure, they are now listening to those records on thousands of dollars of modern equipment, but they say that digital sounds "cold". No, it's not cold sounding. It's more accurate. I'm not in any way, shape or form, writing off what they think is good, but I'm saying that they need to stop writing off digital for sounding "cold" and "digital", because you can't admit that your preference is not accuracy, but emotion. Yet, I run into vinyl hardcore guys time after time, but when they leave, they're looking for digital tracks. Why? Well, when you play a 192khz/24bit symphony piece over a quality hifi setup, especially at loud volumes where the timpani hits are felt, and the vibration of a cello's strings rattle your chest, and the brass section blares through just as loud as being front row at the Philharmonic Orchestra, yet there's some sort of bell off to your upper right that you just realized was there, they realize what they've been missing. The lack of hiss, hum, but the presence of barely heard syllabic sounds like fingers on a guitar string still being heard despite the deafening roar of a wailing guitar is a reminder that while yes, most digital music nowadays sucks, writing it all off is you blaming digital for human mistakes. Blame not the format, but the person behind the board. I challenge the most hardcore vinyl purists to compare "Vogue" by Madonna off of a vinyl, to a proper quality digital version (you might need to get an older CD that wasn't "remastered" (given more compression) to do this comparison). I say this because this song is easy to find on vinyl thanks to the popularity of it at the time. But this track has excellent mastering for what it is, being a pop track, and when compared vinyl to digital, really shows which format excels at transmitting the song best. Heck, even Janet Jackson's "Let's Wait A While" is an excellent comparison choice. Just try it.
I would like to take this time to thank many of you in both /vinyl and /audiophile for reminding me that "vinyls" is incorrect, and that vinyl is inherently both plural and singular. I have also edited these posts to further emphasize that I am only talking about digital being better than vinyl in a purely auditory and scientific manner, in relation to the REPRODUCTION of audio. I have also corrected minor errors in terminology and grammar, and will continue to edit this post if more mistakes are to be found.
This post took 40 minutes to write. TBH+C First reactions.
Just trying something here. Hope you can relate to whatever I feel below. Star Treatment - Sounding smooth af. Alex's vocals on this tune sound really prominent. You really notice the harsh style when the next tune comes on and they're softer. Are they trying to write a tune that's as difficult to memorise the lyrics to as possible? You can't beat me lads, I'll get there. One Point Perspective - Similar spoken poetry style to ST. Nicky boiz bass sounds tasty on this. I wanna stroke that bassline it's so smooth. American Sports - I'm thinking they're going to be to have to have a pianist in their live set up now surely. This one sounds really busy. The rapid tremolo sound on the lead guitar sounds decent. This is like a cross between Tame Impala and Alex's work in The Last Shadow Puppets. Tranquillity Base Hotel and Casino - Super intimate vocals. Alex is right in my ear hole here. Right now I'm thinking this record may be a grower. Brief instrumental breakdown was really nice. Golden Trunks - Feeling nice to get a guitar led tune. I want to love this album so much that I think my opinion is getting watered down. Four Out Of Five - The little album teaser was taken from this tune it sounds like. This has got some punch. Liking this a lot actually. Yep definitely my favourite so far. I'm getting some late Beatles vibes from this one. Reverb soaked, slight crunchy guitar reminds be of AM. Slightly relieved that I really like this. The Worlds First Ever Monster.. - Ahh maaaate. That drop into the chorus is a dream. Reminding me of the Submarine soundtrack a bit. This is beautiful. Science Fiction - This moves nicely from TWFEM. I don't know if I'm getting used to the general feel of the album now or if these last 3 tunes are just better than the first few ones. She Looks Like Fun - I can already see this as being a great song to walk to. Strutting that shit like Turner in the desert. OH YES. That fucking guitar part. That was stunning. That really reminded me of The Beatles 'Let It Be' album. Batphone - When I first heard AM i thought they over did the falsetto backing vocals. I feel a similar with this but with Alex's choppy, spoken poetic delivery. Broken up nicely with the operatic sections though. Dat UFO sound though. No one is marking music like this right now. #killerpinkflamingos Ultracheese - This is stunning. I can already see this going on my chilled playlists. Music for being still and looking at the sky. Oi oi. Turning up a bit. How the fuck did that guitar sound just give me chills. That was an experience. I felt pretty much every emotion listening through that. Final verdict - I need way more listens to actually form a proper opinion. I like it atm, the 2nd half is better than the first. I think I'll feel differently in tje future about a lot of the above. If you made it this far in this post then let me know! Bit of a wall of text!
What i have: -Menatone king of the britains 7 knob with independent boost switch -Strymon riverside, also have the strymon midi to trs cable with it, as well as a custom made favorite/boost switch in a 2"x2" enclosure, and the trs cable to go with that too -Henretta engineering bluebird fuzz -Nobels odr-1 mini Looking for: -harmonic tremolo -gigrig quartermaster -gigrig humdinger -strymon ojai -epiphone semi hollow guitars (dot, casino, sheraton) -30-50 watt clean amp head -cash (these are listed on reverb, if you want to buy one just dm me and ill send you the link)
Guitar Q: What's the closest I can get to Nick's Epiphone Riviera?
I know he had his signature Riviera, but it's virtually impossible to get now. I was thinking of getting a Fender Starcaster (http://www.musiciansfriend.com/guitars/fender-starcaster-semi-hollowbody-electric-guitar), as it's one of the only semi-hollow bodies I really like and installing some P-94's. Has anyone else tried to replicate the sound with a different guitar like an Epiphone Dot, Gibson Sheraton II or something like that? Any advice would be greatly appreciated!
[WTS]Rare 96 Epiphone Casino Metallic Black Hollow Body Guitar
Pics Here! Rare 96 Epiphone Casino Metallic Black Hollow Body Guitar. $850 + Shipping Rare 1996 Epiphone Casino Metallic Black (MB) Sparkle Hollow Body Guitar MIK Peerless Korea P90's Up for sale is my Epiphone Casino hollow body electric guitar with an incredibly rare and beautiful metallic black finish. I have not seen another Casino in this color! The metallic finish is subtle in darker lighting but really shines through in brighter settings. The second picture was taken at sunset outside to really show the sparkle finish. The guitar was made in 1996 at the very reputable Peerless factory in Korea. This 22 year old Casino is in great condition and sounds fantastic! There are a few small surface scratches and a few tiny dings, but nothing too noticeable. The frets are in great shape with very little wear. It is fully stock and equipped with two P-90 pickups. The guitar also comes with an original fitted Epiphone hardshell case. You will have a tough time finding another Casino in this finish and in this great of condition. Don't miss out on this rare guitar! This item is sold As-Described, would prefer local pick up, but willing to arrange shipping. Pics Here! Edit: I believe I'm allowed to post this Reverb link because I have other descriptive text/pics in the post, but if I'm wrong I'm happy to edit. Here's a Reverb link to the sale. It's marked a little higher on there because they take a cut--would obviously rather sell to a Redditor! I've got some decent karma on my Reddit account, so you can tell I'm not a new user or burner account. Edit 2: Item is now SOLD. Thank you!
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