So my band went down to Fort Worth this weekend to play a house party and a bar show for someones birthday. Even though some asshole tripping on acid kept jumping into our songs and playing piano/guitar badly during the party, we got invited to play on a college radio station (KTCU) live in the studio the next night. The bar show was a blast (literally, my amp was the loudest thing in the mix!) and the radio show went pretty darn good considering it was our third time playing that day (morning practice then the bar then the radio!).
I also had a little scare when I went to flip on my amp at the house party and saw the fuse cover and fuse missing. Luckily the guys house we were at had an old Gibson amp that had a properly fitting cap and a 1-1/2A fuse that worked throughout the night! I need to build an emergency kit for this kind of stuff..
I'll get the mp3's uploaded when I can either get this forum to stop telling me the files are empty or can put them on Myspace. I also have a bunch of recordings from the bar show that sound great. I'm hoping to get them posted eventually as well.
Mods: If this topic should be moved to the garage, please do so. It's only TW related in that I used my clone to play all weekend .
I had a similar issue with a fuse cap and fuse, lost em off an original black face fender i was repairing.. couldn't find them for hours and I was absolutely livid trying to find it since the owner was adamant he wanted his amplifier 100% original when it was returned.
I found it in my drive way in the morning after ringing him and telling him i'd lost it. he was happy though once I found it.
Fleetwood Mac - Oh Well quick cover done in the studio for the singers recording project. Express was used for all rhythm tracks and the solo was straight into the board with whatever amp model my friend chose to mix with. I love how well the Express records, I think most of what you hear is a SM57 shoved into the speaker (EV SRO in a closed 1x12 ported cab). Guitar was a MIM Tele w/ stock neck and Hot Rails in the middle position and a toothpaste logo Charvel Fusion Deluxe for the solo. Alright I'll shut up.. ENJOY!
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SM57's are great for guitar amp micing (live and studio), vocals and snares but have other uses as well. Not too expensive and very versatile. Others probably have more to say on this, but you should start a thread in the Garage perhaps if you want to discuss this further .
Dana our drummer said thanks for the kudos. We have a facebook but we aren't really a band anymore, our bass player didn't work out so well (and he was pretty sloppy on this track).
Nice track. The guitar sits great in the mix and you playing is spot on. Kudos as well to the drummer. I love hearing these guys who really work the toms instead of washing out the mix with cymbals.
So I sent this track to my dad and a few of his older friends and they all seemed to hate it. Turns out if you don't produce carbon copies of the original tracks that you are covering old people get their panties all in a bunch. Now I absolutely love the original track but it seems like some people have a hard time grasping that 4 hours to record an entire track, including setting up/breaking down the mics and what not (we usually have the session already built in ProTools), is not a lot of time. On top of that, considering it was free studio time, I really do like how the track came out. My dad described my solo as "screechy and shreddy" but I thought it fit the rushed feel of the solo section pretty well.. I'd love to hear him pull that one out of his ass! Not bad considering I'm mainly an acoustic player .
Cliff Schecht wrote:So I sent this track to my dad and a few of his older friends and they all seemed to hate it. Turns out if you don't produce carbon copies of the original tracks that you are covering old people get their panties all in a bunch. Now I absolutely love the original track but it seems like some people have a hard time grasping that 4 hours to record an entire track, including setting up/breaking down the mics and what not (we usually have the session already built in ProTools), is not a lot of time. On top of that, considering it was free studio time, I really do like how the track came out. My dad described my solo as "screechy and shreddy" but I thought it fit the rushed feel of the solo section pretty well.. I'd love to hear him pull that one out of his ass! Not bad considering I'm mainly an acoustic player .
The note for note vs. artistic interpretation debate has been discussed ad nausium on Craigslist. Where would we be today if our icons from the past played Muddy Waters, Elmore James, Willie Dixon, Chuck Berry, Robert Johnson etc... note for note instead of putting thier creative spin on things? Your dad should be thankful that you are not playing in drop C on a PRS through a Mesa Boogie and thirty effect pedals, but my guess is that he is just keeping you in check or just having a little fun winding you up.
... as for screechy and shreddy, check out Sympathy for the Devel (sreechy al least) or Communication Breakdown.
My only constructive critisizm is that when the second guitar comes in on the beginning it sounds a bit muffled like the EQ is not quite right.
A bit more treble on that second guitar part and it would be perfect.
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Do you guys have a myspace or webpage?
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