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Rings of Saturn
If you enjoy super techy abrasive dissonance shred deathcore you’re in for a treat. Otherwise youll hate it
The Metallica recorded slow then sped things up discussion
- Thread starter JiveTurkey
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Rings of Saturn
If you enjoy super techy abrasive dissonance shred deathcore you’re in for a treat. Otherwise youll hate it
Mikael Dez
Shredder
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Rings of Saturn
If you enjoy super techy abrasive dissonance shred deathcore you’re in for a treat. Otherwise youll hate it
Super abrasive
Dissonance
Shred (can be
I’m picky)Deathcore (might kill it idk)
I added it to my work commute on Monday lol
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Super abrasive
Dissonance
Shred (can be
Deathcore (might kill it idk)
I added it to my work commute on Monday lol
You’re in for a journey/treat tbh. They fuckin wild and dope. Especially that first album before all the “controversy”
It’s over the top to the point of comedy but then they drop the most savage breakdowns
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Oh wait tbis a dank point of entry to0 lmao
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Opposite of the fan named “dead and slow”’ criticizing how slow dead n co jams the tunes
Of course I’m more willing to give a pass to 60s acid heads than 80s thrash
Los-D
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Heard this for quite some time and to be honest; seems to be a bit of a trick that kinda makes you doubt the ferocity of all those years of downpicking. Not really, but maybe just a bitSeems like something Fleming should have kept to himself if we're being honest?
So Santa isn’t real?
Chocol8
Shredder
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Of course I’m more willing to give a pass to 60s acid heads than 80s thrash
What if those 60's acid heads are in their 80's? That's where I take a pass on buying tickets.
HotRats
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I agree.
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I dunno, I only saw dead & co once when they came through here on their last tour and had a great time. Of course at this point it’s just Bobby and Micky being the geezers in the band. Kind of regret not seeing them more previously when they were actively touring. Hope to make it to a Sphere show at some point (assuming they do another residency)
Chocol8
Shredder
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I saw them a couple times, but the SLOW tempo shit really got to me and I just couldn't muster the energy to see them again and instead, I chose to watch sped up YouTube videos which can actually be a pretty good experience if you are...uh...in the right "frame of mind."
Well, I did try to get tickets to the Cornell show because my daughter was/is there, and I did think about going to see them at the Sphere and I still might. But, I am both old and lucky enough to have gotten to see the Dead a bunch of times starting when I was a kid in the mid 80's, up until the last show in Chicago and I never felt D&C really captured that magic well.
But back to the thread topic, try speeding up Dead and Company with Youtube or your favorite playback software. Or try MoP slowed down! Even better if enjoyed with some...uh...miso and mushroom ramen for example.
Something tells me that recording it slower wasn't specifically for James' benefit...and like Drew mentioned, they certainly delivered live.
$150 for the masterclass course from Flemming. Between this and the IIC+/IIC++ reissues, it seems like there's a budding cottage industry around Master Of Puppets lore. I'm tempted to pay for it just to see the "Mesa slaved into a Marshall" thing put to rest if nothing else.
$150 for the masterclass course from Flemming. Between this and the IIC+/IIC++ reissues, it seems like there's a budding cottage industry around Master Of Puppets lore. I'm tempted to pay for it just to see the "Mesa slaved into a Marshall" thing put to rest if nothing else.
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Yes but, especially the super fast versions in 86, are super sloppy, nothing like the record.
Chocol8
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Is it sloppy because of a lack of ability or a lack of sobriety?
It
It is sloppy because they play these already hard songs, full of downpickings, like 10%-20% fasters so naturally they ll sound sloppy. Especially at the ozzy tour you can hear a buzzy mess often, when they play the songs way faster. I m sure the cocaine and drinking did not help.
JiveTurkey
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I dunno how the hell that band seems to attract some of the dumbest hot takes I've ever heard about music and bands in my entire existence.
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Varispeed with tape was absolutely nothing new going back WAY before Metallica. How do you think The Hollies got those impossibly high-pitched vocal harmonies? Varispeed was a feature on ALL professional multitrack tape machines; I had it on mine, and used it.
Vocal comps have been used on nearly every pop recording made for maybe 60 years, too. Anyone who thinks otherwise is thinking very wishfully.
They used to cut verse takes, chorus takes, solos up from 2" tape, by hand, and paste them into place with splicing tape. I did tape comps on lots of ads in the days before digital.
You know who could do perfect harmonies live? The Bee Gees. The Beach Boys. The Temptations. The Supremes, Absolutely perfect. I can't think of others offhand, I'm sure there were quite a few.
Autotune is standard practice on nearly everything. It's the expected norm. As with everyone using the same consoles and recording equipment, the same mics, the same software, the same preamps, and autotune, "the sound of records" has become homogenized. In terms of audio, it's boring.
Of course, tricks like EMI's ADT (automatic doubling) invented for John Lennon and other artists who couldn't double their vocals perfectly were created and used. Echo chambers were once used to help disguise out-of-tune vocals. Varispeed (came later) cured them.
You can hear the out-of-phase tape doubling on Tom Petty's voice in the song 'Wildflowers' from the '90s. It's clear as day if you're listening in a good room or on good headphones. It creates a weird resonance in the lower registers of his voice at various parts of the song.
I'm as guilty of boring as anyone, maybe more so!
When I listen to EMI, or Decca, or Motown, or Chess records, I hear the differences in the one-off, custom-assembled gear each studio and label had. Each record company had a distinctive recorded sound.
Commercial consoles like Neve and SSL didn't exist until the '70s. Folks didn't all use the exact same tape machines and tape types. There was more variety.
"At last check, Spotify was allowing 100% AI-created music to play on their system, Laz. Put that in your pipe and smoke it."
"That being the case, I'd better smoke something else."
Vocal comps have been used on nearly every pop recording made for maybe 60 years, too. Anyone who thinks otherwise is thinking very wishfully.
They used to cut verse takes, chorus takes, solos up from 2" tape, by hand, and paste them into place with splicing tape. I did tape comps on lots of ads in the days before digital.
You know who could do perfect harmonies live? The Bee Gees. The Beach Boys. The Temptations. The Supremes, Absolutely perfect. I can't think of others offhand, I'm sure there were quite a few.
Autotune is standard practice on nearly everything. It's the expected norm. As with everyone using the same consoles and recording equipment, the same mics, the same software, the same preamps, and autotune, "the sound of records" has become homogenized. In terms of audio, it's boring.
Of course, tricks like EMI's ADT (automatic doubling) invented for John Lennon and other artists who couldn't double their vocals perfectly were created and used. Echo chambers were once used to help disguise out-of-tune vocals. Varispeed (came later) cured them.
You can hear the out-of-phase tape doubling on Tom Petty's voice in the song 'Wildflowers' from the '90s. It's clear as day if you're listening in a good room or on good headphones. It creates a weird resonance in the lower registers of his voice at various parts of the song.
I'm as guilty of boring as anyone, maybe more so!
When I listen to EMI, or Decca, or Motown, or Chess records, I hear the differences in the one-off, custom-assembled gear each studio and label had. Each record company had a distinctive recorded sound.
Commercial consoles like Neve and SSL didn't exist until the '70s. Folks didn't all use the exact same tape machines and tape types. There was more variety.
"At last check, Spotify was allowing 100% AI-created music to play on their system, Laz. Put that in your pipe and smoke it."
"That being the case, I'd better smoke something else."
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I also recall that many old singles from the 50s and 60s were sped up when mastered to vinyl. For one, it shortened the songs but also gave the effect of being more upbeat and fresh.Varispeed with tape was absolutely nothing new going back WAY before Metallica. How do you think The Hollies got those impossibly high-pitched vocal harmonies? Varispeed was a feature on ALL professional multitrack tape machines; I had it on mine, and used it.
Vocal comps have been used on nearly every pop recording made for maybe 60 years, too. Anyone who thinks otherwise is thinking very wishfully.
They used to cut verse takes, chorus takes, solos up from 2" tape, by hand, and paste them into place with splicing tape. I did tape comps on lots of ads in the days before digital.
You know who could do perfect harmonies live? The Bee Gees. The Beach Boys. The Temptations. The Supremes, Absolutely perfect. I can't think of others offhand, I'm sure there were quite a few.
Autotune is standard practice on nearly everything. It's the expected norm. As with everyone using the same consoles and recording equipment, the same mics, the same software, the same preamps, and autotune, "the sound of records" has become homogenized. In terms of audio, it's boring.
Of course, tricks like EMI's ADT (automatic doubling) invented for John Lennon and other artists who couldn't double their vocals perfectly were created and used. Echo chambers were once used to help disguise out-of-tune vocals. Varispeed (came later) cured them.
You can hear the out-of-phase tape doubling on Tom Petty's voice in the song 'Wildflowers' from the '90s. It's clear as day if you're listening in a good room or on good headphones. It creates a weird resonance in the lower registers of his voice at various parts of the song.
I'm as guilty of boring as anyone, maybe more so!
When I listen to EMI, or Decca, or Motown, or Chess records, I hear the differences in the one-off, custom-assembled gear each studio and label had. Each record company had a distinctive recorded sound.
Commercial consoles like Neve and SSL didn't exist until the '70s. Folks didn't all use the exact same tape machines and tape types. There was more variety.
"At last check, Spotify was allowing 100% AI-created music to play on their system, Laz. Put that in your pipe and smoke it."
"That being the case, I'd better smoke something else."
Nothing is off the table when doing a record or production, imo. It's an art piece, use the tools that get you what you want. Although I don't like the idea of A.I. music and folks calling it their own. But I'm being a bit hypocritical as I often use AI thumbnails for tracks I upload. I'm just being lazy because I can draw my own stuff.
