fwiw I REALLY like the electribe workflow weirdly - melodic sequencing is a little tougher and requires a lot of menu diving but everything else is really nice and the sampler even has built in oscillators that you can use if your samples don’t get it done
i only ever had the synth version of the electribe 2 series but i really liked it, i could just never get it to sound good with the rest of my setup but i feel like having samples helps that a lot
i will say that the sampling process is probably not the most intuitive given the screen + inputs
I picked up another roadside organ because I’m basically a hoarder (not intentionally ok) and married to an enabler lol. I mean I don’t have one currently (my last garbage organ was years ago) but apparently this “Hammond j-522” is extra shitty even when it’s working perfectly. I ran an extension cord out to my trunk and the thing works (and is thunderously loud when using a minivan body as a big ported cab) but I didn’t get to test it all so I’m not sure how well. Also I have to get it out of the trunk lol wish me luck
my (squier vm 70s 2008ish) jazz bass has been in 2 pieces for 2 months cause I was attempting to combine old repairs AND installing two cheapo additional pickups because I always wanted an extreme neck pickup for dubby stuff and geezer/cisneros/mikami fingerstyle over the frets stuff. so I figured if I’m gonna do all that rerouting I might as well do my other experiment which is:
you know the big mid frequency cut when two jazz pickups are on full? (Edit: forgot to mention it sounds like shit to me so one pickup is always 99% or less OR in using series on a series/parallel cause it thumps) cause they’re parallel and reverse-wound-reverse-polarity? well, I read someone saying that the cut frequencies should change based on pickup distance. And then I started thinking about Gibson grabbers or rippers, whichever have the sliding pickups, and the hilarious and beautiful sliding pickup system on instagram @schorrguitars so I decided I’ll keep my pickups in their roughly same position (neck might shift a bit) and install another set of jazz pickups in with the neck extremely close to the neck and the bridge pickup sandwiched against the old neck pickup. I cut off the little mounting ears and taped them together so it’s like a humbucker (looks wise anyway). So I gotta actually rout it all but it’s gonna be an SHS jazz bass with two more switches, basically choosing which neck pickup and which bridge pickup to use. I went off dreaming about stereo outs and other funky options but I’m over it now. So basically I’ll be able to use 1. the old set (regular jazz position), 2. the new set (regular jazz set shifted towards neck), 3. new neck old bridge (extreme neck and regular bridge) and 4. old neck new bridge (sandwiched pseudo humbucker)
so anyway I got a little dremel router base and templates and switches and threaded saddles to hopefully align the strings better over pole pieces and took the neck off… and then did something else and now my bass is still broke (but it was 50% broke before all this so it’s ok)
the fretless monster i’m currently slapping together is also going massive neck humbucker for impenetrable wall of sub, tempered only slightly by being a shortscale
I’m listening to the playlist of atmos mixes Apple put out this morning. For one thing, I’m not sure hijacking the doppler effect is really a “format” but ok.
Anything mixed/mastered with a post-Nirvana dynamic range sounds god awful, like I straight-up would not have released the mixes of “What’s My Age Again?” and “Sugar, We’re Goin Down” they’re so nakedly flat and lifeless
Most of the recent songs with trap beats have cymbal or synth tracks that are too sibilant and distracting when separated e.g. “Up” hurts to listen to like this
Old 70s/80s production shines - the echoes finally sound like they’re real
Nonsensical Beatles-in-stereo panning stuff e.g. on “Heartbreaker” the backing vocals singing “do do do do do” are… flanking your head and moving forward
I wouldn’t be surprised if Kanye personally worked on the mix of “Black Skinhead.” It’s got a touch of someone really pushing it.
Similarly, someone worked their ass off on “Don’t Know Why” and it’s probably the demo that sells this tech because people want to simulate a 2002 Starbucks at their desk
It’s a neat use of the same fake surround tech they’ve had for a while but I can’t imagine we’ll see stuff that really uses a huge soundstage like, say, f#a# infinity. It’d be perverse.
I’m not even sure who is making money and why, like, I can’t imagine subscribing to a particular service just for this and the labels will put the same mixes everywhere. Dolby, I guess.
aren’t you in Toronto? the l&m by me (the Bloor + oss one) just started doing in-store again. I am committing to my bass again so I’m gonna go get me a big scary fuzz pedal
checking in to say I am still practicing guitar pretty much daily. i went down to the legendary Chuck Levin’s Music Center this past weekend and touched the giters without plugging anything in. my fast thoughts:
acoustic: i tried two Taylor GS Minis, a Martin LX1RE, and the Yamaha CSF1M. they were all great tbh and made me really lust after a nice cheap acoustic. parlor size owns
electric: in rough order of least to most impressive, and remembering im used to a squier strat
fender vintera 60’s - strat (pejorative)
godin passion custom - meh
fender ampro tele dlx - neck was ‘‘fine’’
godin passion rg3 - fine. feels strat
utterly beat up used epiphone flying v - very lightweight, sticks out really far, hard to tell quality given the shape it was in
gretsch electromatic ‘big fucker’ hollow body - v resonant, too big at forearm
gretsch electromatic center block jr (and another semi-hollow) - unpleasant high-end
fender jimmy page tele - heavy, resonant, comforting edges
squier strat hh - feels great?? light + resonant
suhr hss - strat with great neck
les paul studio faded cherry (or something) - little heavy, little sticky neck, very tempting ‘x factor.’ kept wandering back over to it like yui in k-on
fender ampro ii tele - comforting edges, resonant, twang
yamaha revstar rs420 myg - very resonant, stickier neck than the below, quality potfeel (v important)
yamaha revstar rsp20cr - thicker neck, quality feeling pots, neck binding feels so good. trying this out i felt like, i was holding some kind of finely crafted ice sculpture. sort of obsessed
nothing felt as good as those yamahas i swear, it really took me by surprise. on the flip side i was rly underwhelmed by the godins and gretschs, granted i wasn’t plugged into anything, just strumming and going by neck feel and body resonance. i was too shy to ask to try out some offsets or SGs.
Not in TO anymore but I do have a L&M. I’m between work contracts atm so now is the worst time to drop big money on an instrument. And you reminded me that my bass needs work too.
I will say tho the thing I am learning is I prefer an unfinished neck, it’s just what I’m used to. tried a Godin with a roasted maple neck that was p sweet
Think I want something with humbuckers, unfinished or satin neck, and really high build quality. do folks have thoughts
Ah good shout, I’m thinking up to $1700, but keeping in mind I don’t know enough about guitars to be really confident in spending that much money on something I haven’t touched
i think you can get something very well custom made for that amount if you’re not fussy about difficult finishes, exotic tops, binding etc
the key is knowing what your ideal nut width, neck thickness and profile, fret height, scale length and overall weight is - everything else can be fucked around with forever
