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Discussion in 'General Music Discussion' started by Spaced Out Ace, Nov 2, 2019.
Glad I could be of assistance. Pics when you get your NBD
Hmmm, looks sped up to me. Some of those large position shifts alone look all kinds of unnatural.
I like the piece though.
Already mentioned, but I still think it's hilarious. You know you're a badass when you reverse the laws of physics with the whammy bar...
He also has a kill switch that works backwards, too.
What do you consider fake ? Guys like Jason Richardson openly admit in interviews to punching in notes as well as recording solos at slower tempos and speeding them up. Hell, the whole prog metal genre is filled with such tricks because it is humanely impossible to have each note at equal volume and perfect pitch at such speeds. Listeners of the genre are now used to hearing such "perfection". Personally, I see no problem with that; at the end of the day, it's all about the music you want to create. If you want that super clean/tight aesthetics, then go for it. I also prefer an organic approach (a la Marty Friedman), but to each his own. That being said, most players of that genre (including JR) can reproduce their stuff live. If you can't reproduce it live, then I agree it's kinda weird/lame.
Yeah, he openly admits to working towards a sound on the album, then he goes out and actually rips dicks off live, and even if it doesn't sound AS inhuman, it's still impressive. There's a whole class of dudes that either don't play live (a ten second IG clip of the non-shreddy stuff with "camera audio" doesn't count), or bring their solos on the laptop. Just look at some of the videos of Lucas' solos on the latest RoS shows. You can tell he's AT LEAST playing along to a track, if not completely tracked for some of that stuff.
Go nuts in the studio if you can reproduce to a reasonable extent live. There's nothing wrong with using trickery to achieve perfection, until it no longer represents your actual playing ability. I'm just imagining hearing one of these chucklefucks on recording, going, "wow, this guy kicks ass!", asking him to join your band, and then you find out he can't play worth two shits and a fuck. That's sounds about like my luck.
This is not really about folks speeding things up to get the whole unreal cyborg like perfection happen as much as it is about people who claim to be playing said parts in real timing, making "playthroughs" miming to them (sometimes complete with almost Dubstep like effects), and place absolutely surreal expectations not only on them but on the minds of the newbie who believes it is feasible to play like that at all.
Jason Richardson goes for the whole inhuman thing on record, but the man can rip like a motherfucker live, and he's a great example of discipline and immense practice used to attain ridiculous degrees of efficiency - there's virtually no wasted motion anywhere, and he is quite honest about his studio approach to boot.
Sounding this processed, quantized, tuning corrected and everything. I've stumbled to this dude many times and just can't stand listening to this.
I'd rather have some string noise, etc. of a "sloppy" live in the studio performance like the greats (for instance, Friedman and Eddie) over someone doing shit perfectly. There's a lack of the human element that I think is missing a lot in today's music.
That said, punching in a bend correction is fine as long as the entire solo isn't bandaged up in such a way.
I agree with all those saying “no problem with the studio fiddling, as long as you can play it live”.
I always find it funny to see guys do 2-4 tapping finger arpeggios with string skipping in their “live” play throughs with absolutely no string noise.
Personally, guys like JR, Steven Taranto and Paul Wardingham impress the hell out of me and are my technical target (that I’ll never reach), namely in terms of string noise muting skills. @Fred the Shred I don’t find it discouraging, on the contrary, it’s pretty motivating to practice and nail one of their solos/riffs.
This guy is the noise gate/compression master. Allegedly he can reproduce it live. Allegedly. *raised eyebrow*
For those who have paid attention, you may remember this one: I think Berried Alive is horrendous noise.
Actual fake shredders seems like a self-correcting issue. Anyone who fakes stuff and develops an online following won't make that much, because shredding appeals to a limited audience. The money is in doing shows and clinics and selling gear. And if an actual faker tries to do all that, they'll be exposed. Nothing to worry about.
That's a separate from a studio recording. When you buy a record (or stream it or whatever), you get the record. What it sounds like is what it sounds like. It is what it is. If you don't like the sound, you won't want to buy the record. I've enjoyed stuff on every end of the recording spectrum, so I really don't have a prescription about "more people should do XYZ and use only ABC production techniques". Also a non-issue.
On the other end of the spectrum, gotta admire super clean "phone speaker" recordings of guys like Taranto. I like the (minuscule) imperfections in his playing, considering the incredible note choices and technique involved.
holy fuck people are getting good at playing guitar
intresting video. Hollywood deaging CGI process is working well on scott ian
I just don't understand why that guy feels compelled to speed everything up. He's clearly talented and a lot of the music is pretty cool. I don't think any of it sounds better when he's pretending to blast through it. It just seems pointless to me.
Speaking of, Hollywood is apparently so bereft of ideas that they are making a new film with James Dean with the help of CGI. Because, you know, people are just dying for that.
It’s been a while since someone made me want to give up playing, but here we are again.
That's the reason I haven't been so interested in metal the past couple years. It just got to the point it's too perfect. I'm not saying I want to hear bum notes or out of tune bends, I just want to hear a little human behind it. Like in one of the Metallica solos where Kirk bent the string off the neck while he was using his whammy bar (or something like that), just little things that make it feel a lot more real.