With something like the Gretsch, it's a "full package" experience. Bigsby and all. You play it because it sounds and feels a certain way. Vibe and nostalgia goes a long ways too, it's hard to get past it. Same with vintage strats. Nothing wrong with that if it inspires you to make music. Heck, I still drive an old truck most days. I don't have to, but I enjoy it.
Have you tried restringing from the bottom to the top of the tuner peg on the G & B strings? Doesnt completely cure it but mine stays in tune a lot better due to less angle from the nut to the tuners
Thanks, I might really try that the next time I do a restring!
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I would agree in a completely live context, where real instruments and sound waves are hitting you in a particular way. It's hard to beat that at its peak. I still think with recording and production anything goes.
Unless it’s something like Nine Inch Nails where all bets are off, I’d much rather recordings were of real drums and real instruments than MIDI and samples and simulations. They can absolutely sound good but they rarely sound GREAT. The shortcuts are fine if it leads to innovation and creative uses, but when it’s just replicating something better in a cheaper/easier way, if sucks.
I'd say it's more like a car with electric vs manual windows or something. Car analogies are not my forte.
What a load of...“I’d advise new guitarists to play with an amp. When you use an amp modeler, your touch and picking will be very different”: Sheryl Crow guitarist Peter Stroud on why guitarists shouldn’t start on modelers, and how to complement a singer with your pl
How did Stroud become a right-hand man for Sheryl Crow, Don Henley, Stevie Nicks, and many others? It took lots of talent – and these five rules...
“I’d advise new guitarists to play with an amp. When you use an amp modeler, your touch and picking will be very different”: Sheryl Crow guitarist Peter Stroud on why guitarists shouldn’t start on modelers
I think you sort of answered your own point. A lot of the time the extra switches and modes don’t really make anything better than a simple layout, and more often than not you end up with more bad sounds than good. I think basically every option that needs to exist already does if you want it. We just take the innovation for granted these days - master volumes weren’t a thing for literally decades, nor were switchable channels or fx loops or relays or MIDI or integrated fx, let alone half of the stuff we take for granted. Innovation is as much leading us to fewer controls (that are the right ones) as much as having loads of options (which isn’t always very useful).
That's cool. But honest question: do you think you could actually pick out what instruments are real and sampled in every case? I'd like to think I could, but I doubt it. Acoustic, classical, traditional jazz music aside, although some of those lines are becoming blurred too. Basically, it wouldn't shock me to find out that a killer album from the last 5 yrs or so was done completely with modeling or sampling, and personally as a listener - I wouldn't care as long as the song moved me. It's only afterwards that the engineering or production side of that would interest me. As you know, sampled drums have been used for decades. Snares, kicks, hats, etc. for replacement and/or reinforcement. I don't think that's too far removed from someone playing a digital kit (live in a studio) with sampled sounds. Most important things are the song, performance, engineering and production know how. With modern modeling and software technology, engineering a wonderful tone is much more accessible -- "real" or not.
How often do we hear something side by side with what it would have sounded like recorded “for real” vs the shortcut version? I bet if they were side by side it wouldn’t be too hard to notice which one is which.
