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Old 09-20-2011, 09:03 PM   #2034
flmason
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Join Date: Nov 2009
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Quote:
Originally Posted by Gizzmo0815 View Post
It IS about tenacity when you refuse to view music as art and attempt to force that impression on a thread full of people that quite plainly disagree. You won't convince us that your theories are true...I promise.
I'm not refusing to view it as art. But all art, like it or not has a mathematical underpinning, no? The whole universe does, to the best of human knowledge at present.

I guess I'm on a thread full of, well, essentailly religious fanatics. LOL!

You seem to be refusing to look a little deeper. I'm not being the least bit theoretical when I say math underpins music, etc.

Quote:
Originally Posted by Gizzmo0815 View Post
Wrong again.

The thread is about what Yep said it was about (studio technique regardless of gear)since he created the topic and all. I understand your desire to discuss the intricate details of why big studio sound sounds the way it does, but that can't be effectively done on a forum, and if it were a desire then start your own thread. Because HERE you are wildly off topic. But...I don't expect you'll stop. You have successfully highjacked the thread into oblivion at this point, why stop now.
Why can't it be done in a forum? What is there some other, better communication medium? LOL!

OK fine, let discuss "non gear specific ways of getting pro tone". Once you leave the topic of playing competence, is it even possible?

I mean at some point you have to use the words "EQ", "Compression", etc. Again, I never started any gear-brand specifics that I recall?

Yep has put himself up as some sort of expert on the removal of assness in recording. Well, OK one source of assness is this tone problem. Much like Slipperman before, no real answer has emerged.

Go google the web, it's one of the biggest questions on folks minds about this topic.

Quote:
Originally Posted by Gizzmo0815 View Post
You are misrepresenting again. No one said equipment doesn't matter. I don't think anyone in the thread would agree with the statment "equipment doesn't matter". So you're trying to disprove a concept that no one believes in the first place...WHY? How pointless does this have to get?
I'm not trying to disprove anything.

I'm making a 100% logical statement. Equipment precedes sound generation. No guitar, no guitar sound. Poor intonation, poor tone, wrong pickups for target tone, target missed.

The equipment empowers the work. It's a neccesary precursor, especially for *recording*.


Quote:
Originally Posted by Gizzmo0815 View Post
Then you will never sound like you recorded your music in a big studio. This confuses you?

No, you get flack because you drove an excellent thread about recording TECHNIQUE into the depth of "gear matters most" hell.
Let's get serious, I'm getting flack because I stepped on egos that believe in "the specialness of artists". I'm challenging cherished beliefs.

Fine, so what exactly is the magical studio technique that gets rid of fizz in heavy guitar? (Yeah, yeah, I've hear of notching and masking. Doesn't seem to fix the base tone and often ends up sounding dead.)

If you note, all's I'm asking about is recording technique in a specific area.

Quote:
Originally Posted by Gizzmo0815 View Post
This is a backhanded jab at many of the experts who've contributed to this thread. A bit low in my opinion. But the true problem is that your ability to process what people are telling you is severely limited in scope. You are very focused on solving one small problem in a topic full of thousands of potential problems. Unfortunately 60 posts ago would have been a good time to diverge to another thread.

That's probably because you dismiss it as so much fluff. Of the hundreds of people that have posted in this thread, you are the ONLY ONE who feels that the information here is has not significantly impacted their recordings.

If you're in a crowd and there's one guy that doesn't belong...and you can't find him...YOU'RE HIM.
Yes, Yes, and the world was flat at one time too.

Most of the problems Yep has discussed come down to things that *should* be in a recording software's user manual, I'd think.

Quote:
Originally Posted by Gizzmo0815 View Post
Well if it ain't here you can stop looking

And if you haven't found the answers yet...in your decades of digging...well shit...why don't you try a different approach. Like stop worrying about tone, and specific gear, and nitnoid details that do nothing but waste your money (as you've pointed out several times) and your (precious) time.

That's because there is no correct way to do anything musical.

Then stop using their stuff. Do you enjoy banging your head against the wall?

And the answer behind door #1 is...Who the f*ck cares what they sound like, or don't sound like...

DO THEY SOUND GOOD?
Read what you wrote. "Whe the f*ck cares what they sound like, or don't sound like... DO THEY SOUND GOOD?"

You have to care if you want to get from not sounding good, to sounding good, LOL!

It's all about what it sounds like. It's sound recording for cryin' out loud.

For me, and this may be just me, it's even a bigger waste to fight with tooling that doesn't do what you need. Hypothetically, something humans are good at is tool making.

Familiar at all with shotgun shooting and the difference between the English and American ideas on gun making for same?

In America you buy an off the rack gun and learn to shoot it as is for the most part.

Over in England they fit you with a try-gun, take measurments, you come in for a second fitting and they make the gun work well for you.

In many of those kind of endeavors I've found the English way works best for me. But that's just me.

At this point only conclusion I can draw is, "No one really knows, they just fiddle with stuff until they find what works."

Not much "Engineering" there I'd say. Just a large body of trial and error, no?


Quote:
Originally Posted by Gizzmo0815 View Post
Why would any studio guru give a flying jumbalya salad what Line 6 does with their marketing? That studio guru is way too busy to bother...and he probably doesn't have an opinion except to say that if you can use the Line 6 gear to achieve your goal...use it. If you can't...don't.

Yes...yes we all know. You've spent yourself out of house and home trying to hunt down "the perfect tone". Pity you.
Nah, not perfect, just similar to what has come before.

Sorry if we don't share the same ideas about honesty in marketing.

About that "Pity You" comment, Bite Me, LOL!

Quote:
Originally Posted by Gizzmo0815 View Post
Wait...why would be pity you if you have clearly done all of this hunting and spending of your own accord. If it's made you happy, then there is no judgement to be made. If it has made you frustrated...I humbly recommend you stop! Especially before you have to move under the bridge.
Well, the bridge has a possiblity of coming either way. That's not joking. If something doesn't turn, I am going under in the near term. With winter coming too. Debating at what point to get in the car and head for a warmer clime.

At this point, just making a last stab at some of these things before I can no longer.

Maybe *you* shouldn't care if *you* are happy, but I'm guite sure there are 1000's if not 10's of 1000's out there who are on "tone quests" and most of them that continue on at some point will recognize that studio process has some effect in this.

Why would I want to stop, what and be a quiter? I thought artists were supposed to be more dedicated than that.



Bottom line is, we're talking about sound patterns represented by 0's and 1's... if we really know what we want, any number or ways might get there. But, helps to know what we really want.

That's how I ended up getting into this thread. Trying to *really* know.

Perhaps you're right, it's not here.



BTW, what's wrong with you people? You act like someone is forcing you to read and respond to this thread.

You don't want interaction, you generally buy a book, right? LOL!
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