Stop whinging about workflow!!

[laxu]

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Imagine a world where Fractal releases a plugin. Every time you start it you need to line up "preposterous forum statement" with "quote from Cliff" using a wheel like this.

 

[Orvillain]

Imagine a world where Fractal releases a plugin. Every time you start it you need to line up "preposterous forum statement" with "quote from Cliff" using a wheel like this.

I'd pay £200 to have that experience!

 

[FractalAudio]

I programmed four sets of material with one of these (using the front panel and a digital piano with MIDI out):

It was a two-man band. The sequencer did bass, drums and auxiliary instruments.

One night it lost its mind and remapped the kick drum to a tuba.

 

[Deleted member 472]

One night it lost its mind and remapped the kick drum to a tuba.

Too bad cell phone cameras weren’t a thing back then.

 

[JiveTurkey]

I programmed four sets of material with one of these (using the front panel and a digital piano with MIDI out):

It was a two-man band. The sequencer did bass, drums and auxiliary instruments.

One night it lost its mind and remapped the kick drum to a tuba.

Gig video of this would be priceless Probably wasn't enjoyable at the time

 

[Deleted member 472]

Kind of reminds me of this:

 

[JiveTurkey]

Kind of reminds me of this:

Somebody Get Me A Drop pedal amirite

 

[Deleted member 472]

Somebody Get Me A Drop pedal amirite

Or perhaps a tuner? I honestly don’t think Eddie even owned one.

 

[Boudoir Guitar]

Or perhaps a tuner? I honestly don’t think Eddie even owned one.

I heard him whinging about how the extra pedal on his board and time wasted tuning really killed his workflow...

Also, @Orvillain help your old North American friends out here and tell us how one actually pronounces "whinge" and explain how it differs from whining.

 

[JiveTurkey]

Or perhaps a tuner? I honestly don’t think Eddie even owned one.

I was thinking I read he got handed a guitar that was a half step down on this or the other way round (440 but track is down a half?)

 

[Deleted member 472]

I was thinking I read he got handed a guitar that was a half step down on this or the other way round (440 but track is down a half?)

Yeah, after reading the comments, it appears so. I saw another clip years ago and people were saying the midi track was the culprit.

Add Dave bouncing on an inflatable microphone and Eddie’s 3” “jumps” and you have yourself one hell of a clusterfuck.

 

[JiveTurkey]

Yeah, after reading the comments, it appears so. I saw another clip years ago and people were saying the midi track was the culprit.

Add Dave bouncing on an inflatable microphone and Eddie’s 3” “jumps” and you have yourself one hell of a clusterfuck.

Dealing with Dave all the time=

 

[DrewJD82]

I was thinking I read he got handed a guitar that was a half step down on this or the other way round (440 but track is down a half?)

Yeah, after reading the comments, it appears so. I saw another clip years ago and people were saying the midi track was the culprit.

Add Dave bouncing on an inflatable microphone and Eddie’s 3” “jumps” and you have yourself one hell of a clusterfuck.

When this happened, Lonnie was still posting at HRI and recapped his short lived VH days. His assumption was that for whatever reason, this was Ed proving a point in some way/somehow.

Tom Weber discussed he incident in more recent years, I just tried looking for it but he’s done a ton of interviews since then, I’ll check later. Basically, Ed was claiming that he could bang the guitar into the floor, beat the hell out of it, whatever, and it’d still stay in tune. Tom was telling him “Eh, not really”, so to prove his point, Ed smashed the neck into the floor then walked onstage with it, giving us that wonderful rendition of “Jump”.

As I heard Tom start explaining it, by the time he got to “smashed the neck into the floor” I was chuckling, because Lonnie was 100% right.

 

[JiveTurkey]

When this happened, Lonnie was still posting at HRI and recapped his short lived VH days. His assumption was that for whatever reason, this was Ed proving a point in some way/somehow.

Tom Weber discussed he incident in more recent years, I just tried looking for it but he’s done a ton of interviews since then, I’ll check later. Basically, Ed was claiming that he could bang the guitar into the floor, beat the hell out of it, whatever, and it’d still stay in tune. Tom was telling him “Eh, not really”, so to prove his point, Ed smashed the neck into the floor then walked onstage with it, giving us that wonderful rendition of “Jump”.

As I heard Tom start explaining it, by the time he got to “smashed the neck into the floor” I was chuckling, because Lonnie was 100% right.

Dude screwed himself. With all his weird slightly detuned B string and lets use open strings and string together the nutiest assortment of barre-chord-free riffs known to man Transposing his stuff on the fly would be hell.

 

[DrewJD82]

Dude screwed himself. With all his weird slightly detuned B string and lets use open strings and string together the nutiest assortment of barre-chord-free riffs known to man Transposing his stuff on the fly would be hell.

That’s actually a big reason Lonnie’s time with him was so short. I guess he showed up on day 1 and the VH camp expected him to know those offsets without being told and was treated less than stellar when he handed Ed a guitar that was tuned to standard. He‘s not really the type to take shit from anyone, including Eddie Van Halen.

Tom also spoke on that, as he got the gig when Ed or Matt handed him a guitar to take home, told him to set it up and bring it back. He pulled it off and got the gig. I’d imagine at that point the offsets were out on the internet or someone in the tech world let him know, but I believe he said he figured Ed tuned that way based off his handshake.

 

[Sascha Franck]

I was thinking I read he got handed a guitar that was a half step down on this or the other way round (440 but track is down a half?)

It's very likely that the digital playback system they were using was set at the wrong samplerate. Something meant to be played back at 48kHz will sound pretty much like that when played back at 44.1kHz.

Edit: In fact, it's the other way around, the backing was likely meant to be played back at 44.1 but the thing they used was switched to 48 - hence it's higher than the original.

 

[Deleted member 472]

It's very likely that the digital playback system they were using was set at the wrong samplerate. Something meant to be played back at 48kHz will sound pretty much like that when played back at 44.1kHz.

Edit: In fact, it's the other way around, the backing was likely meant to be played back at 44.1 but the thing they used was switched to 48 - hence it's higher than the original.

This is what I heard about it originally.

 

[Digital Igloo]

Early 90s
First real piece of gear bought was a Generalmusic S2 Turbo workstation. It had overdrive and a ping pong delay but more importantly, wasn't the Korg O1Wfd, which everyone used to death back then.

Its sequencer had 16 tracks but it had 2 MIDI outs and 32 channels. Used it to trigger an Akai S2800 sampler and Alesis DM5. Everything was mixed through a Mackie CR1604 and monitored through an Alesis RA100 with Monitor Ones. Would play guitar through an Alesis Quadraverb GT in real time down to a Pioneer cassette.

Mid 90s
Needed multitrack audio. Enter Akai's DR4d, which could record four tracks for 16 minutes before I had to wipe the drive. Would send MIDI clock to the S2 Turbo to sync audio and MIDI.

Mixed down to a POS Sony DTC-A7 DAT. Upgraded to a Mackie 32•8 and Event 20/20bas monitors. Recorded guitar direct through a Marshall JMP-1. Used Lexicon MPX1, Ensoniq DP2, and Alesis MIDIverb 4 effects.

Late 90s
Upgraded to a fully loaded Akai DR16 16-track with VGA out for waveform editing:

Upgraded the sampler to a fully-loaded Akai S5000. DR16 and S5000 ran 24 channels of ADAT lightpipe into a Mackie Digital 8•Bus with Mackie HR824 monitors. Added lots of synths like Nord Lead, Novation BassStation, Roland JP-8000 and XV-5080, etc. Beige G3 Mac ran Logic (before Apple bought Emagic) for MIDI sequencing only; no audio. Added a POD Pro and SansAmp PSA-1 but still mostly used the JMP-1. Mastered through a TC Electronic Finalizer.

Pressing play on the Mackie D8B would send MMC to the DR16, which would send MTC to Logic, which would send MTC back to the D8B to reference automation. Mostly digital audio (including AES/EBU with a Lexicon PCM91), all clocked from an Aardvark Aardsync II and it all worked flawlessly from day one.

Made sooooo much music in the 90s and early 00s. After work, from 6pm to 2am, like a track per night from conception to final mix and two on Saturday and/or Sunday. Sold them all too, back when library music was lucrative. Today's rig is so much better, faster, and more flexible, but now it takes months to complete anything at all. Far too many options and distractions.

 

[GTR37]

I programmed four sets of material with one of these (using the front panel and a digital piano with MIDI out):

It was a two-man band. The sequencer did bass, drums and auxiliary instruments.

One night it lost its mind and remapped the kick drum to a tuba.

Hopefully it wasn’t a ballad with a full dance floor

 

[Orvillain]

Also, @Orvillain help your old North American friends out here and tell us how one actually pronounces "whinge" and explain how it differs from whining.

Oh it is simple. It is pronounced "whinge" !!