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Howdy all, Due to the technical difficulties of our legendary Ugly Guitars/Stupid Music poo poo thread, which seems to be making GBS threads the bed at 520 pages, I hereby submit this successor for the continuation of searching out, posting, and debating the stupidity of music poo poo. For example, depending on what you like, this is either the best thing or the worst thing:  To me, this is a beautiful guitar; but to many it is hideous:  The previous thread had over 50 pages of yours-truly constantly (I really mean constantly) melting-down and effort-posting about how I was really not owned. I was really, really drunk in those days and that's all the defense I'll give; as it really was inexcusable (I was owning myself more effectively than most.) Through it all, there was an embarrassment of riches in really ugly guitars, awful concepts, and incredibly stupid music poo poo posted over the years and here we hope to carry on that tradition begun by poster Harakiri Potter who started their Ugly Guitars thread in GBS on Christmas Eve, 2013. Based on my JEM70vSFG, above, I stole forums poster and real working musician Concatenation's great joke (from page 519) and contributed this, summing up my own stupid music poo poo:  This is happening on short notice and I don't really know how everyone will feel about it; but in any case, "Welcome One and All" to what I sincerely hope will be a worthy successor to a thread that can truly never be recaptured (unless someone more insane than I was comes in and shits it up worse than I did.) At least we don't have to worry about the amount of stupid music poo poo being created in the world slowing down. It's out there. Bring it in here! 
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Oct 15, 2017 02:17
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Trig Discipline posted:The third through twelfth songs played on that guitar will be aborted attempts at "More Than Words" interspersed with "wait wait wait...okay". It will end after twelve attempts because the work friend's barbecue is over. The next time it is seen in public will be during divorce proceedings. Kilometers Davis posted:I'm glad this thread didn't end up back in the garbage pit of GBS. I was worried for a while. Dirt posted:Surf green is the best color for a guitar IMO. But this is hideous. That might be more of a seafoam green? I can't ever tell the difference...Either way I love that sort of green. Has anyone played a double-neck live? Bass/guitar double-neck? Strat/Tele? 6-string/12-string? I'm curious, because I have not and it looks... difficult to pull off. Dr. Faustus fucked around with this message at 06:27 on Oct 15, 2017 |
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Oct 15, 2017 06:24
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Thumposaurus posted:How about 4 guitars at once? I was actually curious about folks who've actually put double-neck instruments (I mean bass/guitar, 12-string/6-string, Strat/Tele) into use in their personal lives, especially on stage.) Have some really stupid music poo poo (it didn't seem so stupid at the time): I was in this progressive-rock band (sorry) where the drummer and bassist/keyboardist/singer (remind you of anyone?) wanted to use his Carvin Double-neck 12/6-string on just the outro of one Rush cover song (can you guess which one? You don't have to, it's coming up at the end of the post) and I told him he needed to cover keys/bass/Moog Taurus Pedals and I'd fake my way through the outro and no-one would give a poo poo about a missing 12-string. Rush was still kinda relevant in the prog scene way back then (early 90's, grunge hadn't taken over completely yet) but this was just dumb. He wanted to play the 12-string part with no guitar amp and those things are so hard to keep in tune, so why bring it to a gig for a few bars at the end of a really long song? He was pissed at me (what's new?) but I talked him out of it. I get it, he bought the thing, so he really wanted an excuse to use it and I get that. He might have bought it for that song as far as I know. I'm pretty sure this is that guitar:  It happens I have a live recording of this song from November 11th, 1993. It's recorded off a VHS cam-corder and I tried to clean it up but, you can't clean that crap up much. I hope you get a laugh out of it. The drummer has a Gibraltar blocks set and roto-toms but most of his kit is electronic pads into an Alesis D4. At least the snare and Hi-hat were real. I'm playing an ADA MP-1 through a Peavey Classic 50/50 stereo power amp with lots of MIDI-controlled rack effects. The Bassist/Keyboardist/Singer is doing everything else. Ok, so at the end I have this simple part to play and I put my hand down on the wrong frets. I tried to save it. That's some VERY stupid music poo poo. I'm pretty sure this performance could not/would not be saved by a 12-string arpeggiating an Emaj chord at the very end, especially if it meant leaving out the bass and keys. Hey first page and I'm still posting old MP3s. Beware, it's Rush. It's almost 11 minutes.  Anyway, the point was: Does anyone really use double-neck and if so, what are they? I'm fascinated. I feel that if I had, say, a double-neck 12/6-string, I might need two signal chains (amps and effects) to run them through. That's a lot of effort for something I could probably ignore or do with a pedal. Dirt posted:This thread needs some Yngwie imo I have a buddy who is using two Blackmore Strats right now. I'm going to go play them 11/05 when we get together to show off new gear. Dr. Faustus fucked around with this message at 08:06 on Oct 15, 2017 |
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Oct 15, 2017 07:49
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I saved this gif and meant to put it up on the first page but got distracted. Thanks!
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Oct 15, 2017 07:59
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Hooray for Vai chat! Honestly, I'd forgotten about that song (Fever Dream) but I look at it this way: That heart guitar was just a dumb idea he had because he was in David Lee Roth's band for crying out loud. Everything Diamond Dave did back then was flashy and crazy and flat-out over-the-top silly. I will unabashedly maintain "Eat 'Em and Smile" and "Skyscraper" are two of the best rock albums ever made, and stand up to the first Van Hagar album (5150) which was the summer of my senior year of High School and it was inspiring. Skyscraper and 5150 were the soundtrack to all those fun summer nights with my buds and my girlfriend as we all got ready to move on to college and see what life had waiting for us. So Vai takes that silly prop guitar and he actually makes something composed, interesting, melodic, and musical out of it. I mean, that's why I love him. He's a total dingus but that's ok. He's totally passionate about his craft and of course it's not for everyone. He doesn't do things by half measures. Regarding Satriani, I am even more mixed: On the one hand, he's an absolute perfectionist. You can pull up a million YouTubes of one of his tunes and he nails it, perfectly, the same way, every time. Note-for-note, harmonic for harmonic, dive-bomb for dive-bomb. He's absolutely consistent in a way few rock guitarists are. On the other hand, he bores me. I haven't really enjoyed anything he's done since Flying in a Blue Dream and he doesn't really seem to reach, to evolve. Vai, on the other hand, is always trying new poo poo. It may be awful, but he's always going in different places. He takes more chances and doesn't always land as well, but Satch just seems stuck in a rut for the last couple decades. God love him, I still came home from school/work and play played Surfing (the whole album) every day before my Dad came home from work to force me to unplug or get yelled at for disturbing the peace. Also, I had a rather involved text convo with Dirt last night and I am shocked. SHOCKED. At how wrong his opinions about Stevie Ray Vaughan are!   (Agree to disagree bro, but now I know your dirty secret!)Bill Posters posted:brb; travelling back in time to kill Steve Vai. NonzeroCircle posted:I think he's like some hybrid thread mascot/punchbag. Even the intro has its moments as the fretless guitar stuff reminds me of Adrian Belew playing "Matte Kudasai," which is a loving gorgeous King Crimson song, which is most certainly not Stupid Music poo poo: https://www.youtube.com/watch?v=USXEi5dJPto E: Misspelled "Matte." Dr. Faustus fucked around with this message at 02:26 on Oct 16, 2017 |
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Oct 16, 2017 02:23
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s.i.r.e. posted:Well since you asked for it: The Muppets On PCP posted:having trouble shooting thick, ropy loads like your favorite porn stars? Dr. Faustus fucked around with this message at 02:35 on Oct 17, 2017 |
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Oct 17, 2017 02:28
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Chalupa Joe posted:Well, at least we don't have to look at the headstock.
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Oct 17, 2017 05:20
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Gringostar posted:should make one out of magnesium and give it to the great white guitarist
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Oct 23, 2017 23:48
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Some of y'all are way too hard on Stevie Ray. 
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Oct 25, 2017 01:34
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cis autodrag posted:i worked security at the venue he died at lol
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Oct 25, 2017 06:58
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Kilometers Davis posted:I’m still dying to own a full holo guitar.
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Nov 4, 2017 03:35
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I'd buy that, but I'd use it for flipping people a mega-bird.
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Nov 21, 2017 05:11
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Yay new page! I've talked about this Chibson thing some. Specifically: I have a buddy who was going through a Zakk Wylde phase and wanted Les Pauls to take on stage in a cover band he was gigging with a bunch. He bought four Res Pauls: Two Zakk Wylde Camo Bullseye guitars, a white one with a lot of neck inlays, and a blonde one. They cost him about $250 each and they were all in various states of quality. He got rid of the white one right away, although eBay kept de-listing his auctions as bootlegs (even though he made it very clear in the auctions it was a fake from China.) He made a profit on that one from some lady who wanted to buy it for her son, and didn't care that it was a knock-off. He spent a ton of money on the better of the two Camouflage Bulls-eye models, loading it with high-gain EMGs, top-notch tuners, tail-piece and bridge, and had all the pots replaced by a luthier (he's never done any soldering and won't try.) I'd imagine he spent about $400.oo more to complete it. The other he sold off as parts as well. The blonde one had a funny cosmetic flaw: the seam of the two body halves ended about an inch to the bass side of the center-line of the guitar. He started to try to refinish it, ended up sanding off a lot of finish, hitting it with some stain/oil, and calls it a relic-job. He also replaced the electronics and hardware on that one, too. Meh. At one point we all pointed out to him for the money he'd spent on his Res Pauls he could have bought a couple used Les Pauls or maybe a nice new one, and his response was... sensible enough: "Then I would be afraid to gig with them." Ok. So the one guitar plays and sounds quite good, after a hefty investment, but it's tainted in my eyes: Personally I'm very opinionated about something that this guy has always been into. He built a Strat-style set up like one of Jake E. Lee's Charvels, and paid a guy to make a gold Charvel stick-on logo for the headstock back in the 90s. He had a friend at Zion guitars and took them a Mexi-Strat body and had them put a Zion neck on it, and wanted us to call it his "Zion." (Unfortunately for him, the parting words from the Zion rep who sent him out with the guitar actually said the words, "It came out nice. Too bad it's not a Zion!" on his way out the door. That stung him. Later, he told me about a plan to buy water-slide Fender decals for some aftermarket parts-caster, and we all just shamed him out of it. He was a pioneer of "stolen brand cred" before Chibsons were even a possibility of a thing, and we have mocked him pretty mercilessly about it. The word "poser" comes to mind, but he fights back hard if you say it out loud. I'd buy a look-alike but I'd pass on the bootleg logos, "Made In USA" marque and fake serial numbers. I think it would be fun to buy one of those CNC-machined JEM bodies and make a custom JEM for myself, some kind of hard-tail; but it wouldn't say "Ibanez" or "JEM" on it anywhere. I'd feel dirty if I bought a bootleg instrument. But I'd try some of those more interesting Chinese-built guitars, even copies, as long as they weren't covered in someone else's logos, etc. And my more controversial peeve is just relicing in general. I get it, when it comes to buying, say, furniture that you want to match what you already own so you buy it "pre-distressed." But I get the feeling that too many blues dads and (back in the mid-late 90's, blues kids) saw SRV's #1 Strat and decided to self-relic their guitars. Fender saw the market there and makes a sick profit on it, but it still just strikes me as poser behavior, especially if it's someone in a band trying to make pass their 2017 Strat replica off as a legit '57 or some poo poo. A lot of posters couldn't care less and have said so, and that's ok for them. Anyway, that's off-topic and I'm sorry; but I also have to wonder about who is making these guitars. We joke about 8-year-olds making Chibsons for fish heads or whatever, but I honestly don't know how bad the conditions are for those luthiers. I haven't done any research, frankly the whole thing is rather disgusting, but then again Gibson is loving awful and seriously, gently caress them. VV I'm totally behind that! VV Dr. Faustus fucked around with this message at 04:41 on Nov 28, 2017 |
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Nov 28, 2017 04:27
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hexwren posted:Please don't do that.
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Nov 29, 2017 02:22
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Korn really turned me off when they came out, not just because I hate that screaming frantic style of rap metal stuff; but because of the production. Every mix sounded like a collection of clicks and pops over heavy drums... the actual fundamental notes in the guitars and bass were missing to my ears. I was very surprised sometime in the 00s when a buddy of mine insisted I listen to some Korn album and it actually sounded like music, with actual singing. I still didn't care for it much, but it seemed like they'd grown quite a bit as musicians. Of course you won't be surprised to learn I am a fan of how Vai used his 7-string on Passion & Warfare, it was pretty exciting for us olds back in '89 (the year I graduated High School). I've never considered buying a 7-string, though. I wouldn't mind having one to goof around on but I'm already certain I'd just get lost on it (I played a friend's Ibanez 7-string, a hard-tail with two humbuckers that sounded very good, but in the short time I played it I was definitely lost and frustrated.) All the good MIJ JEM products are way outside anything I could afford now.
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Nov 29, 2017 21:15
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Well, this has certainly been a page of the Stupid Music poo poo thread. Thanks for the history lessons and especially for the Entwistle palate-cleanser!
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Nov 30, 2017 05:51
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...or is it?
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Dec 8, 2017 08:10
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Pablo Gigante posted:I think this was made by Jeremy Irons in Dead Ringers
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Dec 10, 2017 02:58
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Tone tarnish?
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Dec 12, 2017 03:05
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I don't think it would work on a truly floating tremolo anyway. Drop your E string down a whole step without adjusting the rest of the strings and you can predict what will happen. The Edge may have its issues, but in my experience they are incredibly sensitive to changes in tension on the string or spring sides. My oldest Edge trems still return to zero perfectly so unless you blocked it the D-Tuner was never going to be an option. And this is why I wish and keep saying I wish there were more three-pickup RG style Ibaneezers with hard-tail bridges. No whammy bar fun, but every tuning right there at your disposal without much work at all. This made me think of tuning on-the-fly: I bought one of those clip-on tuners back before I got my Blackstar and drat I don't know how I lived before that. I used to have to plug into the tuner, I'd switch to the neck pickup, roll off the tone knob, and proceed to tune. If it didn't take (say, after I locked down the locking nut) I might have to do it all over again. Now I just clip the thing on the headstock and turn it on for a minute while I dial in. drat those things are great.
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Dec 27, 2017 00:03
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Malaria posted:
The B string on my new Fender Strat likes to get stuck sharp when I use the bar for subtle vibrato on chords and I don't want to start filing or otherwise messing with the nut/string-tree yet. I'd like to try this Nut Sauce stuff first and see if it helps. As far as changing strings goes, I'm a lot (I mean, a LOT) better about washing my hands before I play and wiping down the strings after. My Dad has very dry hands and his strings never seem to go bad, but when I don't exercise extra string hygiene I can pretty much ruin a set of strings (turn them black in places in just hours, turn them into barbed wire in a couple weeks.) Now I only need to change strings when the mood strikes me to pick up a guitar I've left sitting for awhile. Even in the case they tend to oxidize over time, so I check out the guitar and if they don't seem very fresh I go ahead and do a full setup with a new pack of strings (checking the neck angle, relief, trem height, etc.) as roughly half of my guitars aren't so stable and the other half are still susceptible to seasonal changes. Basically if I play for an hour and my left hand's fingertips smell noticeably like metal, I'm gonna change strings. P.S. - Not a stealth edit: Upon proof-reading the post I notice I misspelled "Nut Sauce" once above, but I'm going to leave it as is because.
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Dec 27, 2017 04:54
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This is more honest than 90% of the MANY drummers I've attempted to play music with.
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Jan 20, 2018 05:56
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NonzeroCircle posted:
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Jan 28, 2018 05:20
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darkwasthenight posted:The video my friend took involved a pool table vibrating across the floor at the back as they played. I've worked with dozens or drummers and bassists and (OMFG) guitarists. The ability to be loud is not the ability to be good. I've personally kicked out sound guys who insisted on mic'ing and EQ'ing a piccolo snare to sound like an LA fat snare while also deafening our audience with piercing highs and ridiculous lows that their own subs couldn't handle without farting and making GBS threads. It was like a point of pride for these idiots. I mean, if being the loudest thing since a MOAB is your thing, then ok; good on ya; if that's what your audience is there for. THAT is some stupid music poo poo. I want to make music and I want people to hear it and feel it and be moved by it. I don't want them to think that the quality of the show has something to do with how many days their ears are still ringing after the last song. No, I am not the rear end in a top hat requiring everyone in the audience to have their own headphones for perfect fidelity. THAT is some stupid music poo poo. Now, PA systems have become quite monstrous in terms of SPL since then, but that doesn't make music sound good. P.S. - Every drummer who told me, with a proud smile, "I'm the loudest drummer you'll ever meet" couldn't play for poo poo and didn't last a full audition with my bandmates, because they couldn't play a song.
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Jan 29, 2018 11:04
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I think I've just been marked by too many years of the "louder = better" crowd ruining shows I've attended or performed by going for volume for its own sake. If that's not the case with those other bands, so be it. Right here, see? Right here is where the evil sound man touched me. *points to butthole
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Jan 30, 2018 02:14
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That loud ringing in your ears that you hear after exposure to extreme SPL is the sound of you losing hearing after that exposure. It's not a joke and you can never get it back. I know I'm supposed to have contrary and stupid opinions but the industry for which I now work conducts annual OSHA-mandated hearing conservation tests on their entire fleet service teams because they work around extremely loud engines many times a day. The funniest thing is how they react to being asked if they have discharged firearms in the last two days on the form. It's not because they might be "gun-owners," it's because they've been recently exposed to high SPLs which might effect the results of their hearing tests. Hearing protection there is mandated and provided free, but sometimes I walk out a door and have to plug my own ears because I forgot my earplugs. I've lost enough hearing to loud cymbals or concerts, I'm just trying to preserve what I have left.You don't get it back. Yeah, it's funny when you're young and ballsy and loud poo poo is cool because it thumps your chest but when you're older and "silence" is filled by a whine like the sound of a jet engine (which gets louder the more you notice it) because you have tinnitus then things like being in a quiet room, trying to sleep in a quiet space, or just enjoying silence in general becomes impossible. I know it sounds like a "get over yourself, Grandpa" thing but trust me: if you haven't been there, you don't want to be there. I was there in my 30s. I say this because I can not be in a quiet room. I need a small amount of sound, like a sound spa or a low fan to keep me from hearing that whine and having it ramp up from a 2 to a 10. I wear ear plugs and I hear concerts much better when they're too loud. The treble is attenuated some, but the clarity is so much better. Then again, some Napoleon in a Jean-jacket almost threatened me to a fight for wearing earplugs at the only Yngwie show I ever attended (BTW his tone was loving incredible.) Dr. Faustus fucked around with this message at 09:10 on Jan 30, 2018 |
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Jan 30, 2018 09:07
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To my friends in Stupid Music poo poo, I apologize if this doesn't belong but it feels like the right place for it: It is with tremendous sorrow and grief that I write of the passing of my dear friend and pet of 15 years, Missy. The dog from the first thread, the "that dog has seen some poo poo" doggie, whom I adopted from my sister's family at 18 months and she has been with me every day since, until today. Or tomorrow, I guess, officially. At Christmas 2016 everyone in the family could see she was changing: Loss of interest in things and people. Loss of interest in social interaction and a complete loss of how to do all her old tricks and basic obedience. Then came the incontinence and it was determined by her vet that her kidneys were failing due to old age and there was nothing that could stop it. I put her on prescription foods and NSAIDs and got her regular checkups, but she seemed unable to hear anything and no longer made eye contact with me, instead following my movement around the place by watching my feet. She stopped letting me give her meds. The kidney failure progressed until she barely ate, could no longer traverse the stairs for her walks or even walk in a straight line, and shortly after Christmas this year her hind legs gave out completely. She'd stay wherever I set her down and that was when her decline really accelerated rapidly. She became skin and bones and started getting sores from staying in the one position she wanted to be in: nose to tail, right leg under. I knew it was bad when she went four days this week without taking food. She hadn't moved on her own in a month. She lay in her own mess and I was constantly cleaning up and providing fresh bedding and mopping the floor twice a day. So I called the vet to schedule euthanasia for tomorrow but last night when I got home she just laid in her bed and cried and cried. It was heart-wrending. This morning when I got up, she was no better. She was inconsolable. I won't anthropomorphize her and pretend to know what she was thinking, but it was obvious she was in great pain. I called the vet again. On my way to work I took her to the vet a day early. She cried in the car the whole way there because she couldn't move around in the passenger seat to make herself more comfortable and I couldn't help her. The vet was waiting at the door of his clinic to take her from my arms. It was over so fast. I paid, took her blanket, left her sedated and hurried to work where I tried to distract myself with that bullshit. But now I am home and she's not here and she never will be again. 16.5 years is a "pretty-good-run," as they say, for a dog. For me, it was way too short. I can't describe how empty this apartment feels without her here. So here is to you, my good, good girl who had seen some poo poo. I miss you terribly.    Trump your dog:  and finally: https://www.youtube.com/watch?v=qk_q0VeaFGA Rest in peace, Missy-girl, you've earned it. I'm glad you're no longer in pain. Thank you for all the great years. Missy October, 2001 - Feb. 1st, 2018
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Feb 2, 2018 05:13
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I'm really sorry to bring this thread down so loving hard, but she was "that dog" in the first page of the first thread and I wanted everyone to know her better; especially now. I did everything I could for her about 15 years. My lame joke is my niece named her "Missy," but of course if I had gotten her first I would have named her "Stephanie Rae Vy."
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Feb 2, 2018 09:09
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Dang It Bhabhi! posted:lol if you don't play
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Feb 10, 2018 06:05
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I should have thought of this. drat. 
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Feb 15, 2018 03:57
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Oscar Romeo Romeo posted:Tune to standard then drop everything one semi-tone flat. SRV did it EVH did it It makes it easier to sing (yeah, I try to sing) It makes 0.010's feel more like 0.090's but sound heavier (sometimes, that depends on how your electronics, rig, and picking technique come together.) That's enough reasons for me, which lead to me asking each band I tried to get off the ground: "Are you ok with everyone in the band transposing down 1/2 step?" Most keyboard players had no issue with it. Bassists, on the other hand, especially if they played 5-strings, would object that the loss in string tension created rubbery. badly intonated tones. They weren't wrong, but I would counter that they could do like I do and just go up a string gauge. Some were ok with that, some not. The singers pretty much universally agreed that singing 1/2-step down was A-OK. Unless I am forced to, I will always defend the 1/2-step down tuning as a good thing for a band, cover tunes or no cover tunes. Aside: King's X (my favorite band, to a point) did crazy 6-string tunings that I can only bust out on my hard tail guitars, and I'm assisted by my string gauges (Light top/Heavy Bottom) which is basically 0.010" to 0.56" so those low B and C notes (which 1/2 step down translates to A# and B notes on the lowest end) aren't flubby and loose due to their size. For me, it's a really cool middle ground between baritone guitars, 7+ string guitars, and weird detunings. Works for me, but YMMV. I hope that made sense. If I need to clarify anything, just let me know. Chalupa Joe posted:The DiMarzio But I do have a friend who almost exclusively uses ToneZones in the bridge position. I've played them all (it's more than ten guitars) and I just can't get behind it except as a one-trick-pony. Mazzive gain and harmonics but really harsh (what I call "fake" pick-attack, from Paul Gilbert's old need to file his pickups to a point) and I like the airy, bright pick-attack that comes from more vintage output pickups but needs another gain stage when you need to play high-gain sustaining solos. I fall back on overdrive pedals for that part of a song, and leave them off because the amps I play love the lower output humbuckers and man, they talk when you dig in with the pick just in rhythm playing. He resists this advice and has some great amps that he wants to ditch because he "is constantly reaching for the volume knob, looking for more gain" but thinks using a pedal is somehow cheating. Don't ask me, I can't explain that. I would have a ToneZone but only for one use, and I don't have many guitars that are uni-taskers. 
Dr. Faustus fucked around with this message at 04:20 on Feb 28, 2018 |
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Feb 28, 2018 04:05
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TONE ZONE
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Rifter17 posted:Just for open notes? I'm not playing in any kind of ensemble at the moment so it's a non-issue. If I want to practice with something that's in standard, I like that I can just put it on my phone, lower it a semi-tone through an app, and stream that via Bluetooth to my home theater. and that's just one of several options. If you'd told me in the 90s the kind of capabilities we'd have today, I would've thought you were loving with me. Of course, I'd have felt the same way if you'd told me about guitar and bass prices.
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Mar 1, 2018 05:22
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Jr. bringing that A-game.
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Mar 2, 2018 07:53
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Faustus gettin' triggered on this page.
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Mar 10, 2018 22:29
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Kilometers Davis posted:I love Vai, definitely one of my favorite players. I’ve never been into his music in depth though. I’m very into his playing but some songs just don’t do it for me and/or have vocals. It’s not the shredding, totally into that. Maybe it’s time I force myself to find the right album for me instead of watching YouTube live clips.
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Mar 29, 2018 01:37
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Inspirational
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Apr 13, 2018 22:28
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I get the hate on Vai, he's a goof-ball. I still love the guy, of course, but I'm an old who grew up worshipping him (he played Jack Butler in Crossroads, which is kinda like the Rocky of guitar nerd movies, and my guitar nerd friends and I must have watched that dumb movie 45 times back then) and the stuff he did with DLR on Eat 'Em and Smile and Skyscraper is simply amazingly awesome. Very earnest love for that stuff, it was the soundtrack of my Junior and Senior years of High School (with Van Halen's 5150 rounding out a great summer). I don't get the hate for Tool, but then again I never owned a Tool CD. My prog band covered Eulogy and Stinkfist and it was fun as hell to play, but that's about the extent of my exposure to Tool except for that one song from MTV... Broken? I thought that was a good song, too. I do recall hearing about the Radiohead vs. Tool tribalism but never got involved. Anybody care to explain what's so bad about Tool to me, and maybe comment on the band rivalry? Were the bands themselves involved or was it just rear end in a top hat fans being assholes?
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May 11, 2018 20:56
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I didn't know this until my friend got involved with one of these but: It's becoming normal for live performances by bands with a rich donor/sponsor/member, even completely un-tested and proof-of-concept projects (like tribute bands) to have a full a/v setup and everything, I mean everything, runs off the master clock of a controlling rig. Real Life Example™: Guy wants to do a tribute band and he's loaded. It's an 80's band with the basic lineup of drums, bass, guitar, keyboards, and lead singer. The show is based around multiple costume and instrument changes to represent each "era" of this band. There's a fully produced video in the back, and the guitarist (whomever THAT is) is stuck with the band-owner's Kemper which is connected to this master time-keeper. Some people can hack it, some can't; but I was surprised this kind of automation was even within reach of project bands without any label support. Just funded by the one well-too-do peson who always wanted to make a living in music and has decided entering the "tribute band" market is the way to do it. I knew this sort of thing (especially playing to a master click and syncing with pre-recorded backup tracks) was common on the pro/semi-pro (if that even makes sense, it was what came to mind) level but I had no idea there were people automating entire shows based on one guy's disposable income/tax write-off. P.S. - Friend got out and fast, but more because of the tribute thing (costumes, gimmick, that stuff) and wanted to try putting out his own stuff, which he's actually doing.
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May 13, 2018 07:22
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Sorry. I gotta Faust-post. You guys got me thinking about bad music store experiences and this one may make sense to you or it may not. I got this amazing Schecter neck from a classmate at NCSU for just $50 (awesome) and at first I put it on my lovely Korean Kramer Striker 300ST for awhile, before I decided to build an actual blues-capable Partscaster out of it. You all know it, it's this one:  That body is an old Swamp-ash body from Warmoth. And I bought it from a local music store around 1991. The place was staffed and managed mostly by idiots (this was pre-internet and so going through your local store to get Warmoth parts was normal.) It was cheap compared to today. I think I paid about $138 for it, and then had to wait a month to get it. There's a risk in ordering an un-finished guitar body from California and having it shipped to North Carolina. I only believe this because my Dad wanted to build his own jazz Tele-style out of a one-piece Warmoth body. He thinks he didn't give the body time to acclimate to the different temp/humidity here before he opened up the box, because it came out perfect but during the week after he opened it up, the body curled upwards. It had a bad and worsening, very noticeable bow; like you could set this slab of wood on a table and it rocked like a cradle. So he sent it back and waited while Warmoth sent him a two-piece glued body; which he then built a very awesome instrument with. I took that lesson to heart. For this body, I originally wanted to either stain+clearcoat or paint it. I wanted the pristine body in the box when I went to pick it up. What actually happened was: I went to the music store and asked them to bring me my package from Warmoth. This idiot came up from shipping/receiving with my Strat body. It was not in the box. He was holding it in his greasy hands. And you know all the product literature and marketing stuff that comes in that box? It was loving taped to the raw wood of the body with packing tape. Who knows what kind of residue that would leave on the wood, or if the body would curl up on me like my Dad's guitar body had? I saw this and almost had a stroke. "Why did you take my new body out of its shipping box? Why the gently caress did you apply adhesive tape to the raw wood? That was my property, what were you thinking?" I thought it was outrageous. "I needed to ship something out, and your box was the perfect size," he replied. "You WHAT?" From behind the counter, where invariably there were at least two employees eating take-out off the glass display cases, the Burt Reynolds-looking store owner/manager said, in this ridiculous Southern drawl, a phrase that my friends and I reference to this very day: "Somebody get this man a baawwx." The music store dudes took some cymbal boxes, broke them down, wrapped them around the guitar body and taped them together. No thought was given to what I was objecting to, and I meekly took the thing home and hoped for the best. In the end it turned out ok, but this kind of "service" was par for the course in Raleigh after Audio Light & Musical shut down and the era of Mars, then Sam Ash and Guitar Center stores took over; by which time I went into those places as rarely as possible because the "hey let's go browse the music store" urge had been ruined by a thousand cuts like these. Music store owners and employees off-handedly insulting your gear to your face. People with no skill and no talent asking what you were up to and when you replied about the project your band was working on, saying "You're still beating that dead horse?" gently caress those people, all of them (the bad ones). This has been an authentic Stupid Music poo poo Faust-post™ and I hope you enjoyed it.
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Jun 11, 2018 02:55
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| # ¿ May 14, 2024 19:58 |
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The Muppets On PCP posted:oh man i went into the mars on capital. once Same.
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Jun 11, 2018 06:07
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