Whatcha listening to?

[|iR|Focalor]

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[quadz]

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Last heard this about 17 years ago, fun to run across it again.

[[BTF]Sigma]

Code: [Select]

Low Fidelity Allstars - Battleflag
Last heard this about 17 years ago, fun to run across it again.

Love that one. Ugh I miss 90's electronica.

[|iR|Focalor]

This is a song about my herpes.

<span data-s9e-mediaembed="youtube" style="display:inline-block;width:100%;max-width:640px"><span style="display:block;overflow:hidden;position:relative;padding-bottom:56.25%"><iframe allowfullscreen="" scrolling="no" style="background:url(https://i.ytimg.com/vi/ErXjxZD_1tE/hqdefault.jpg) 50% 50% / cover;border:0;height:100%;left:0;position:absolute;width:100%" src="https://www.youtube.com/embed/ErXjxZD_1tE"></iframe></span></span><br /><a href="https://www.youtube.com/v/ErXjxZD_1tE" target="_blank" class="new_win">https://www.youtube.com/v/ErXjxZD_1tE</a>

[|iR|Focalor]

What am I listening to? Oh gee, I dunno. Right now, it's just any date after September 11th 2015. So obviously...

FUCKING
SLAYER!



Yes, it KICKS ASS. Nothing too unexpected. Sounds pretty similar in overall feel to the last 2 studio albums. Some people are probably gonna bitch that they aren't trying hard enough to break new ground... but lets face it, it's fucking SLAYER. These dudes are in their god damned 50's, quickly approaching their 60's. By now, they know what sound they like, and they know exactly what they hate, and they ain't gonna change for anyone.

It usually takes about 10 or 20 full spins of the whole album over the course of a week or two before I really start picking out my favorite tracks from each of their new albums. Haven't really gotten there yet, but so far the last track, Pride In Prejudice, is a solid front runner for me.

The absence of Jeff Hanneman may not be immediately noticeable to a lot of people, but I can definitely feel and hear the empty space left without him. You've probably seen me say this plenty already, but SOOOOO glad they have Paul Bostaph back on drums. Dave Lombardo is a terrific drummer, no doubt, but Bostaph just has a little different style that sounds more interesting and less rigidly robotic than Lombardo's. Compared to one another, Bostaph's the more technically skilled drummer in my opinion.

And again, speaking of them being in their mid-50's now... they're starting to show their age a little bit. The music itself is every bit as hard as it always is, but Tom Araya definitely doesn't belt out the same caliber of a yell that he did 15 years ago when God Hates Us All came out.

[|iR|Focalor]

Speaking of Slayer... 

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Reminds me of my college days when some of my buddys ran the Father & Son Music located along the front wall of the Walmart Supercenter where I worked at the time. On my lunch breaks and days off, sometimes I would hang out with them in the little shitty hole in the wall music store and we'd attempt to play death metal on the shitty little child-sized instruments which is just about all they ever had in stock. My buddy couldn't play drums at all and could only "barely" play guitar at the time, so I'd always have to take the drums. And yeah, they were usually the pink flowery Hello Kitty type shit like in the video, hahaha! Those little drums would get LOUD too. The looks we got from shoppers on their way out of the checkout lanes... fucking priceless.

[|iR|Focalor]

Good song.

<span data-s9e-mediaembed="youtube" style="display:inline-block;width:100%;max-width:640px"><span style="display:block;overflow:hidden;position:relative;padding-bottom:56.25%"><iframe allowfullscreen="" scrolling="no" style="background:url(https://i.ytimg.com/vi/uk_ilymWo4s/hqdefault.jpg) 50% 50% / cover;border:0;height:100%;left:0;position:absolute;width:100%" src="https://www.youtube.com/embed/uk_ilymWo4s"></iframe></span></span><br /><a href="https://www.youtube.com/v/uk_ilymWo4s" target="_blank" class="new_win">https://www.youtube.com/v/uk_ilymWo4s</a>

I love how so many of these idiots on the internet think Ray Manzurek was some kinda fucking virtuoso because he could play the bass parts with his left hand and the "lead" parts with his right. It's called a fucking piano, it takes TWO HANDS. Nothing fucking special about it at all. Nothing much special about Robby Krieger either. The whole band, as far as pure skill went, was pretty fucking novice and shitty. But they're still proof that you don't have to be the greatest musician to make music that sounds cool.

[quadz]

A one man band.

Wow, just when i was reaching peak annoyance with his stupid hipster moustache, he comes in with the full sound...

http://www.npr.org/event/music/447200083/folk-alley-presents-the-suitcase-junket-earth-apple

not freakin bad

(wonder how he gets such a full bass tone out of those strings)

[Krlll Mule]

Jeff Beck's Blow By Blow (1975) via LP on a new but less than high quality turntable...still rips CD's a new one....haha try 'Scatterbrain" next time you get bored on the guitar

[Krlll Mule]

A one man band.

Wow, just when i was reaching peak annoyance with his stupid hipster moustache, he comes in with the full sound...

http://www.npr.org/event/music/447200083/folk-alley-presents-the-suitcase-junket-earth-apple

not freakin bad

(wonder how he gets such a full bass tone out of those strings)

Nice. But surely, as a bass player, you know he ain't hittin' those low notes. He's playing high notes while the bass is doing it's thing.  My guess: using triggers to produce the complimentary bass loop at the appropriate time.  Of course, also my guess is you are being sarcastic. 

[|iR|Focalor]

Jeff Beck's Blow By Blow (1975) via LP on a new but less than high quality turntable...still rips CD's a new one....haha try 'Scatterbrain" next time you get bored on the guitar

  My favorite Jeff Beck album. Scatterbrain on guitar? How about ANYTHING Jeff Beck does on guitar. When you ask people to name guitar gods who wear out a tremolo arm, far too many of them mention folks like Eddie Van Halen, Joe Satriani, Jimi Hendrix, etc, and far too FEW of them ever mention Jeff Beck. And Beck's technique with a tremolo blows all the others away, including Hendrix, yeah I said it. I would liken his flawless impeccable fluidity with a tremolo bridge to how Duane Allman used to play slide. Just a thing of beauty. And so difficult to duplicate that even the best guitarists have trouble when they try. Bends, tremolo arm action, volume knob manipulation, all at once. He's doing all the shit that country lap slide steel players do with 4 limbs, with only his two hands.

<span data-s9e-mediaembed="youtube" style="display:inline-block;width:100%;max-width:640px"><span style="display:block;overflow:hidden;position:relative;padding-bottom:56.25%"><iframe allowfullscreen="" scrolling="no" style="background:url(https://i.ytimg.com/vi/qMryWoRRqUc/hqdefault.jpg) 50% 50% / cover;border:0;height:100%;left:0;position:absolute;width:100%" src="https://www.youtube.com/embed/qMryWoRRqUc"></iframe></span></span><br /><a href="https://www.youtube.com/v/qMryWoRRqUc" target="_blank" class="new_win">https://www.youtube.com/v/qMryWoRRqUc</a>

[quadz]

Nice. But surely, as a bass player, you know he ain't hittin' those low notes. He's playing high notes while the bass is doing it's thing.  My guess: using triggers to produce the complimentary bass loop at the appropriate time.  Of course, also my guess is you are being sarcastic. 

It's sounding to me like an octave pedal is in the mix. (live-doubling his playing an octave below)


<span data-s9e-mediaembed="youtube" style="display:inline-block;width:100%;max-width:640px"><span style="display:block;overflow:hidden;position:relative;padding-bottom:56.25%"><iframe allowfullscreen="" scrolling="no" style="background:url(https://i.ytimg.com/vi/KM2K7sV-K74/hqdefault.jpg) 50% 50% / cover;border:0;height:100%;left:0;position:absolute;width:100%" src="https://www.youtube.com/embed/KM2K7sV-K74"></iframe></span></span><br /><a href="https://www.youtube.com/v/KM2K7sV-K74" target="_blank" class="new_win">https://www.youtube.com/v/KM2K7sV-K74</a>

[Krlll Mule]

Nice. But surely, as a bass player, you know he ain't hittin' those low notes. He's playing high notes while the bass is doing it's thing.  My guess: using triggers to produce the complimentary bass loop at the appropriate time.  Of course, also my guess is you are being sarcastic. 

It's sounding to me like an octave pedal is in the mix. (live-doubling his playing an octave below)


<span data-s9e-mediaembed="youtube" style="display:inline-block;width:100%;max-width:640px"><span style="display:block;overflow:hidden;position:relative;padding-bottom:56.25%"><iframe allowfullscreen="" scrolling="no" style="background:url(https://i.ytimg.com/vi/KM2K7sV-K74/hqdefault.jpg) 50% 50% / cover;border:0;height:100%;left:0;position:absolute;width:100%" src="https://www.youtube.com/embed/KM2K7sV-K74"></iframe></span></span><br /><a href="https://www.youtube.com/v/KM2K7sV-K74" target="_blank" class="new_win">https://www.youtube.com/v/KM2K7sV-K74</a>

Yea, I think you're right about that.  After about 20 years of just playing bass and acoustic guitar, I bought a new electric guitar and have been having a blast.  One of the pedals I'm thinking of buying in addition to an old pair of Ibenez flanger and distortion pedals is some type octave pedal.
Suggestions on brand and type would be appreciated.  I'm playing a 50's Vibe Squire Strat that sounds darn good for what it is and mostly playing clean.  I'm also trying to learn more chords and scales....or better put...the name of things I've been playing for years without knowing what they actually are called.    Playing just by ear is fine if you have the gift, but if you can't communicate with fellow musicians by using the chord/scale nomenclature, it's a handicap.

Peace and Love,

Krlll Mule

[|iR|Focalor]

If you're looking for an awesome flanger pedal, I'd definitely recommend tracking down an old vintage Morley pedal. Their old modulation expression pedals from the 70's are THEEEEEE SHIT. They ain't dirt cheap though. If you can happen to luck out and find one in a used music store, it could run you anywhere from 80 to 150 bucks depending on the condition or just how much the seller thinks it's worth. Most I've seen typically go for closer to 150 though. They're well worth it though. Nothing else modern will reproduce that completely authentic 70's flanger sound quite the same. I have one of the Morley phaser pedals from that same era, and I wouldn't part with it for all the phaser pedals in the world. Most flanger and phaser pedals just have controls for depth and speed of the flange effect. Usually these old Morley pedals have two knobs for fine tuning the top position and bottom positions of the sweep as well as one knob to dial up feedback. The pedals have an auto mode where the foot rocker controls the speed, or a manual mode where you can rock the pedal to control the sweep like a wahwah. And most of these one button stompbox flangers have the range of the sweep in only an area where the manufacturer thinks it will sound best. The Morley's have a bit of a wider range that can allow you to use more wacky over-the-top tones if you want.

They might not be as bulletproof as a stompbox though. They're made out of some decently heavy chromed steel, but the inner circuitry is a tad more vulnerable than solid state pedals. They typically use a tiny light bulb inside of them with sensors around it. As you rock the pedal, it changes the brightness of that bulb, and the sensors translate that into the sound of the effect. And that bulb, like all bulbs, won't last infinitely. Not too much of a problem though, the bulb can be replaced if it burns out or breaks. Also, it doesn't run on batteries. All the old Morley pedals used 2-prong AC cords.

As far as distortion pedals go, I fucking HATE the things. They're are useless paperweights in my opinion. Most amps these days come loaded with all the distortion you'd ever need unless it's one of those tweed covered "classic" things. I've got an old BOSS MT2 Metal Zone distortion pedal which is the gold standard of heavy modern distortion pedals and has been for the last probably 25 years. And I fucking HATE the thing compared to what my Marshall preamp does on it's own. It just sounds so stale and lifeless. Even when I try to dial it back and get a good mix of the pedal along with my all tube preamp and poweramp rig, it still doesn't sound as snarly as the Marshall by itself. However... fuzz pedals are a different story. The Big Muff Pi pedal has a great sound to it. Has a nice early 70's Black Sabbath sound. Supposedly those Fuzz Face pedals made by Dunlop (I think) are supposed to be decent, but from what I remember, the Big Muff had more aggressive fuzz to it than the Fuzz Face could accomplish when the knob was cranked all the way up.

As far as octave pedals go, can't recommend anything really. It kinda depends on what specifically you want out of the pedal. Some are just your basic old fashioned octave pedals, no frills no bullshit. Others have pitch shifting and harmonizing ablities too, and then with those you have a variety of pedals to choose from that vary vastly in price depending on just how much total control of the mixture and tonal options you wanna have. My personal preference, I don't and wouldn't use an octave pedal. With that type of effect, what I'd want out of it would be a nice crystal clean signal, and the best way of doing that would be through a rack unit. And usually the rack units that handle an effect like that will have tons more options for total control than any floor unit out there. Rackmount shit ain't too easy to find anymore though. Seems like less companies make rack effects now. These days, most shoppers want the easier to use and cheaper floor pedals I guess. You tap dancing monkeys don't know what you're missing with these fancy rack setups.

From what little I know about octave "pedals" though, probably one of the best and most flexible ones out there would be the Electro-Harmonix POG2. It's not cheap though, about 330 bucks. 4-voice octave pedal with a 10 preset memory. Pretty much everything and more you could want from an octave effect crammed into a floor pedal. About the only thing they could do to make this pedal more option-filled would be to add separate EQ's for each individual voice as well as 4 output jacks for each voice. If you want options that crazy though, you gotta get a rack unit.

I think my Digitech GSP2101 multieffects unit does shit kinda like that. I know it allows you to pan the 4 voices into 4 distinct signal paths, but then you gotta manually assign and program 4 separate EQ effects to each of the 4 outputs from the octave effect if that's the kinda thing you want to do. Actually... haha, no, now I think about it, I think my Digitech does 8-voices and can run individual output paths from all 8 voices. It gets kinda confusing. That's why most people probably opt for stompboxes. To create these elaborate 8-output multi-routed effects, a lot of times you gotta draw out a diagram on paper of what the routing should do before you sit down to program new effects algorithms. And not only that, but lets say you've already run the signal through a 2-output stereo chorus effect. At that point you can run each of the 2 outputs from the chorus effect into 2 separate 8-voice octave effects. That creates 16 signal paths coming out of the two octave effects. Yeah. It gets a little crazy. However, there IS a limit to the crazy shit you can do with this thing. Each effect modules takes up so many blocks of memory, and you only have about 256 total blocks of memory, so effects chains can't get infinitely elaborate.

[Krlll Mule]

If you're looking for an awesome flanger pedal, I'd definitely recommend tracking down an old vintage Morley pedal. Their old modulation expression pedals from the 70's are THEEEEEE SHIT. They ain't dirt cheap though. If you can happen to luck out and find one in a used music store, it could run you anywhere from 80 to 150 bucks depending on the condition or just how much the seller thinks it's worth. Most I've seen typically go for closer to 150 though. They're well worth it though. Nothing else modern will reproduce that completely authentic 70's flanger sound quite the same. I have one of the Morley phaser pedals from that same era, and I wouldn't part with it for all the phaser pedals in the world. Most flanger and phaser pedals just have controls for depth and speed of the flange effect. Usually these old Morley pedals have two knobs for fine tuning the top position and bottom positions of the sweep as well as one knob to dial up feedback. The pedals have an auto mode where the foot rocker controls the speed, or a manual mode where you can rock the pedal to control the sweep like a wahwah. And most of these one button stompbox flangers have the range of the sweep in only an area where the manufacturer thinks it will sound best. The Morley's have a bit of a wider range that can allow you to use more wacky over-the-top tones if you want.

They might not be as bulletproof as a stompbox though. They're made out of some decently heavy chromed steel, but the inner circuitry is a tad more vulnerable than solid state pedals. They typically use a tiny light bulb inside of them with sensors around it. As you rock the pedal, it changes the brightness of that bulb, and the sensors translate that into the sound of the effect. And that bulb, like all bulbs, won't last infinitely. Not too much of a problem though, the bulb can be replaced if it burns out or breaks. Also, it doesn't run on batteries. All the old Morley pedals used 2-prong AC cords.

As far as distortion pedals go, I fucking HATE the things. They're are useless paperweights in my opinion. Most amps these days come loaded with all the distortion you'd ever need unless it's one of those tweed covered "classic" things. I've got an old BOSS MT2 Metal Zone distortion pedal which is the gold standard of heavy modern distortion pedals and has been for the last probably 25 years. And I fucking HATE the thing compared to what my Marshall preamp does on it's own. It just sounds so stale and lifeless. Even when I try to dial it back and get a good mix of the pedal along with my all tube preamp and poweramp rig, it still doesn't sound as snarly as the Marshall by itself. However... fuzz pedals are a different story. The Big Muff Pi pedal has a great sound to it. Has a nice early 70's Black Sabbath sound. Supposedly those Fuzz Face pedals made by Dunlop (I think) are supposed to be decent, but from what I remember, the Big Muff had more aggressive fuzz to it than the Fuzz Face could accomplish when the knob was cranked all the way up.

As far as octave pedals go, can't recommend anything really. It kinda depends on what specifically you want out of the pedal. Some are just your basic old fashioned octave pedals, no frills no bullshit. Others have pitch shifting and harmonizing ablities too, and then with those you have a variety of pedals to choose from that vary vastly in price depending on just how much total control of the mixture and tonal options you wanna have. My personal preference, I don't and wouldn't use an octave pedal. With that type of effect, what I'd want out of it would be a nice crystal clean signal, and the best way of doing that would be through a rack unit. And usually the rack units that handle an effect like that will have tons more options for total control than any floor unit out there. Rackmount shit ain't too easy to find anymore though. Seems like less companies make rack effects now. These days, most shoppers want the easier to use and cheaper floor pedals I guess. You tap dancing monkeys don't know what you're missing with these fancy rack setups.

From what little I know about octave "pedals" though, probably one of the best and most flexible ones out there would be the Electro-Harmonix POG2. It's not cheap though, about 330 bucks. 4-voice octave pedal with a 10 preset memory. Pretty much everything and more you could want from an octave effect crammed into a floor pedal. About the only thing they could do to make this pedal more option-filled would be to add separate EQ's for each individual voice as well as 4 output jacks for each voice. If you want options that crazy though, you gotta get a rack unit.

I think my Digitech GSP2101 multieffects unit does shit kinda like that. I know it allows you to pan the 4 voices into 4 distinct signal paths, but then you gotta manually assign and program 4 separate EQ effects to each of the 4 outputs from the octave effect if that's the kinda thing you want to do. Actually... haha, no, now I think about it, I think my Digitech does 8-voices and can run individual output paths from all 8 voices. It gets kinda confusing. That's why most people probably opt for stompboxes. To create these elaborate 8-output multi-routed effects, a lot of times you gotta draw out a diagram on paper of what the routing should do before you sit down to program new effects algorithms. And not only that, but lets say you've already run the signal through a 2-output stereo chorus effect. At that point you can run each of the 2 outputs from the chorus effect into 2 separate 8-voice octave effects. That creates 16 signal paths coming out of the two octave effects. Yeah. It gets a little crazy. However, there IS a limit to the crazy shit you can do with this thing. Each effect modules takes up so many blocks of memory, and you only have about 256 total blocks of memory, so effects chains can't get infinitely elaborate.

Lots of good info.  Much thanks Focalor.  My post wasn't too specific.  I have two old 70 vintage Ibenez pedals: a Flanger and a distortion.  Like you, to this day I'm not too keen on using them much.  I have a 1969 Fender Deluxe Reverb amp that has been sitting around un-used because it needs some work.  I'm planning to put that puppy in the shop and get it back up and running.  The distortion I got straight off the amp was much better than what I can get now off a pedal; plus it just seems made for the strat sound.