I am having a spectacular SFP day all by myself, no trim, just me. It's cool, cause I got my dog walked recently, and am not so easily distracted by the oppisite sex.
In between posting @ the Z, and playing that luscious C4T as a jazz / fusion solo instrument, I have the CMT ( Joe Bob Channel ) channel on, and I am picky w/ Country & Western, as most is not country, and surely not western, but @ any rate I saw the Wilson's doing a Led Zeppilin song called Been A Long Time, and Winonna was singing, and they fuckin' smoked !! I guess rock can't live w/ o country, and vice versa, but these girls were smoking.
Then Benetar sang w/ Martina McBride and got my ass kicked all over again. What a great day of music.
BTW, when using C4T as a solo instrument to punish those obnoxiously loud guitarists, I use a preset from the SSB Modulator called slow phase, and of course Celmos Tape Simulator. Add a nice long release on the ADSR, and play those comps while jamming the lead. If I could just get Cubase going 4 the bass and drum stuff, I'd give my left nut.
At any rate the CMT channel is rockin' out today, they gave the Joe Bobs a break. That's fine w/ me, cause if I wanna hear any yodling I'll go to canyons of Austria, or Switzerland.
Pat Benatar,Heart ( The Wilson sisters ), and Winonna Judd.
-
hubird
com'on Jimmyman, post some playing snippets, just something you are used to do.
The style doesn't matter to me, I really would like to hear those bastards ably played by someone who knows to play
You now know how to record live in Cubase?
pm me if you want, it's damn easy.
Or change your name to Jimmy4NotLifeYet
If that were old recordings you saw, I know the fascination you show.
Despite my love for electronic music I still sit in front of my old tellie to not miss anything.
I recently saw a very old B7W studio recording of Aretha Franklin, just she and a piano.
Man, she, playing and singing, kept looking 100% to the right streight into the camera, all the way.
It looked completely natural, the artist and the performer being one, even with an imaginary public.
The style doesn't matter to me, I really would like to hear those bastards ably played by someone who knows to play
You now know how to record live in Cubase?
pm me if you want, it's damn easy.
Or change your name to Jimmy4NotLifeYet
If that were old recordings you saw, I know the fascination you show.
Despite my love for electronic music I still sit in front of my old tellie to not miss anything.
I recently saw a very old B7W studio recording of Aretha Franklin, just she and a piano.
Man, she, playing and singing, kept looking 100% to the right streight into the camera, all the way.
It looked completely natural, the artist and the performer being one, even with an imaginary public.
Me and GaryB had to shut it down several times because of a MIDI looping issue, I got some FAT tracks, but prefer a final product which from the sound of things, mastering will be a breeze.
I am waiting for my Digital Music Corporations awesome MIDI patcher w/ filtering and everything I need to tie all the knots. The MX8 will solve all the problems we had. It least it allowed us to store a few tracks, but those aren't what I'll be posting anyway.
I got the C4T to sound like Isao Tomitas Moog Modular phased leads w/ Portamento on the album " Snowflakes Are Dancing ", but my tunes will be more like " FAT BASTARDS Are Dancing." I see the power of Cubase 4 though, and know it will be fierce.
When I use GigaViolin and C4T together, it is so cool to let the C4T sustain the tailnote while doing licks w/ the fiddle, then both jumping back in 4 the hook line. My new A16 , and MX8 are all that I'll need.
C4T is an excellent lead axe though, and you will hear it swirl around with the ProOne, and my analog hardware synth. I have never really blended so many quality synths together @ the same time, it is truly awesome.
Be Festive,
I am waiting for my Digital Music Corporations awesome MIDI patcher w/ filtering and everything I need to tie all the knots. The MX8 will solve all the problems we had. It least it allowed us to store a few tracks, but those aren't what I'll be posting anyway.
I got the C4T to sound like Isao Tomitas Moog Modular phased leads w/ Portamento on the album " Snowflakes Are Dancing ", but my tunes will be more like " FAT BASTARDS Are Dancing." I see the power of Cubase 4 though, and know it will be fierce.
When I use GigaViolin and C4T together, it is so cool to let the C4T sustain the tailnote while doing licks w/ the fiddle, then both jumping back in 4 the hook line. My new A16 , and MX8 are all that I'll need.
C4T is an excellent lead axe though, and you will hear it swirl around with the ProOne, and my analog hardware synth. I have never really blended so many quality synths together @ the same time, it is truly awesome.
Be Festive,
[quote="
I got the C4T to sound like Isao Tomitas Moog Modular phased leads w/ Portamento on the album " Snowflakes Are Dancing ", but my tunes will be more like " FAT BASTARDS Are Dancing." [/quote]
That's an amazing album. I'll have to hit you up next time I'm in Vegas. I'd like to hear you play. I'm close & I end up there once a year or so. I've only actually met two other Scope users in real life...
I got the C4T to sound like Isao Tomitas Moog Modular phased leads w/ Portamento on the album " Snowflakes Are Dancing ", but my tunes will be more like " FAT BASTARDS Are Dancing." [/quote]
That's an amazing album. I'll have to hit you up next time I'm in Vegas. I'd like to hear you play. I'm close & I end up there once a year or so. I've only actually met two other Scope users in real life...
Well that's excellent to hear.
I rarely leave Nevada anymore, except for exceptional money, i.e Rio, or Atlantic City. But Tahoe is a different story there. During Ski season believe it or not, cash is no object, as my son lives there, and I love the Green slopes. Us old hockey players don't do well on Moguls when we get older. Plus just to see the famous people, and beautiful creatures that seem to crawl out of the woods up there, are worth the financial decreases that are incurred.
Hopefully you will make it here when I do the dives. The shitty nightclubs are where we cut loose. I don't do the casino lounges much as I have a bad reputation of telling people to suck my ass too much. But if you were playing some cool grooves with synths, and some idiot who looks like he stepped out of the movie " Deliverence " asks us to play some Patsy Kline, I tend to want to jump off stage and whoop his Joe Bob ass, especially when it's obvious we don't have a female singer. They are a constant source of irratation to work with, and always want to bath their vocals in reverb which really drives me up the wall.
PM me anytime. Even if I am doing the R & B, or Blues stuff, I will happily make the C4T w/ the SSB Modulator, and Celmos Tape Sim scream. But one model I am very proud to play is the B2003 through a rotary cabinet. I use SpaceF's CC5 to control all of my drawbar movements, insted of those giant sliders on modern day controllers which are only useful if you can assign 4 or 5 drawbars to one slider. But I work with this one cute young Josh Stone wanna be, who really sings great, but is still a pain in the ass, but the B3 gets a good working over when I play with her. Sadly she has a following of Lesbians bigger than K.D.Lang, so don't even yhink about trying to score some trim there, as they would probably shoot us.
See Ya' 'N Vegas Scaryy,
I rarely leave Nevada anymore, except for exceptional money, i.e Rio, or Atlantic City. But Tahoe is a different story there. During Ski season believe it or not, cash is no object, as my son lives there, and I love the Green slopes. Us old hockey players don't do well on Moguls when we get older. Plus just to see the famous people, and beautiful creatures that seem to crawl out of the woods up there, are worth the financial decreases that are incurred.
Hopefully you will make it here when I do the dives. The shitty nightclubs are where we cut loose. I don't do the casino lounges much as I have a bad reputation of telling people to suck my ass too much. But if you were playing some cool grooves with synths, and some idiot who looks like he stepped out of the movie " Deliverence " asks us to play some Patsy Kline, I tend to want to jump off stage and whoop his Joe Bob ass, especially when it's obvious we don't have a female singer. They are a constant source of irratation to work with, and always want to bath their vocals in reverb which really drives me up the wall.
PM me anytime. Even if I am doing the R & B, or Blues stuff, I will happily make the C4T w/ the SSB Modulator, and Celmos Tape Sim scream. But one model I am very proud to play is the B2003 through a rotary cabinet. I use SpaceF's CC5 to control all of my drawbar movements, insted of those giant sliders on modern day controllers which are only useful if you can assign 4 or 5 drawbars to one slider. But I work with this one cute young Josh Stone wanna be, who really sings great, but is still a pain in the ass, but the B3 gets a good working over when I play with her. Sadly she has a following of Lesbians bigger than K.D.Lang, so don't even yhink about trying to score some trim there, as they would probably shoot us.
See Ya' 'N Vegas Scaryy,
-
hubird
scope4live wrote: I don't do the casino lounges much as I have a bad reputation of telling people to suck my ass too much. But if you were playing some cool grooves with synths, and some idiot who looks like he stepped out of the movie " Deliverence " asks us to play some Patsy Kline, I tend to want to jump off stage and whoop his Joe Bob ass, especially when it's obvious we don't have a female singer. They are a constant source of irratation to work with, and always want to bath their vocals in reverb which really drives me up the wall.
PM me anytime. Even if I am doing the R & B, or Blues stuff, I will happily make the C4T w/ the SSB Modulator, and Celmos Tape Sim scream. But one model I am very proud to play is the B2003 through a rotary cabinet. I use SpaceF's CC5 to control all of my drawbar movements, insted of those giant sliders on modern day controllers which are only useful if you can assign 4 or 5 drawbars to one slider. But I work with this one cute young Josh Stone wanna be, who really sings great, but is still a pain in the ass, but the B3 gets a good working over when I play with her. Sadly she has a following of Lesbians bigger than K.D.Lang, so don't even yhink about trying to score some trim there, as they would probably shoot us.
:lol:Worth a quote, if you managed to delete it
The switches you do in your novels are killing
Great to read about the B3, me being a non-player, great that CC5 solves the problem so well
Definitely will use it's sound once in a track, even for me as a 'electronic' musicion the B3 is fascinating, the sound is amazing so rich man.
Brotha' Man Hubird,
The B2003 is stunningly accurate and also adds a slight new developement when accessing the drawbars. But rotary cabinets are crucial when playing live.
The best B3 players aren't displaying their chops, but rather holding down notes and using the drawbars like we would use the ModWheel while cruising through waveforms.
My all time favorite example of a classic killer B3 sound, was Steppenwolf's " The Pusher. " There's a small 4 bar section where the sustained chord has the Leslie go from fast to slow while moving the drawbars. ( It's right before the long descending pitch down bend on the guitar, prior to the repeated intro in the 2nd verse ). It is so simple a caveman could do it. But the sound I described is exhillerating to hear live, as the rotary cabinet is allowed to do it's deadly doppler effect, that can only be felt in a live room as the air is manipulated.
The first time I heard a B3 w/ a Leslie, I was at a dance when I was 12 or 13 years old. Everyone's mom dropped them off at St. Judes, but since I had a paper route, I had my own motocross bike and rolled in like a tough guy would. But Uriah Heep was performing their song July Morning which starts off loud then becomes dynamic, but the B3 w/ the percussion and the Leslie was 20 feet away from me, and I believe that was the first time I got a woody, and goose bumps from music. I immediately begged, and stole to buy a Leslie, and organ. Unfortinately it was only a Farfisa SynthSlalom w/ pitch bend, and vibrato. But that was good for a punk, and I could play the Doors.
Do you know of any semi current songs where someone is using a B3 w/ a Leslie? Probably not, except for Josh Stones last CD, which displays her incredible talent, as I believe she must have sang in the life before. But I truly believe that someone could use it in an ambient style recording, and it would sound great.
One more example where this technique could be used in an ambient way is the song by Santana called Caravanasierra. The Leslie w/ drawbar action and a phase shifter also. It's absolutely as you would say, rich in timbre. You should really try to find and listen to these examples, as they are an example in sound, not chops, where even a guitarist / producer could play his own parts, and sound quite fierce.
I will try and record my B2003 eminating from my Pro3t in Cubase. I can only hope it will be accurate, as I find the DSP Leslie inaccurate, as the throbbing low end demonstrates. It has the sound of a too closely miked large baffle, hence the Ru-Ru-Ru throbbing effect, which cannot be altered. I always like watching peoples faces that are close to the Pro3t at a gig. They always put their hands closer to the horn, like kids who like getting their hands close to the fanblades of a moving fan.
Be Festive,
The B2003 is stunningly accurate and also adds a slight new developement when accessing the drawbars. But rotary cabinets are crucial when playing live.
The best B3 players aren't displaying their chops, but rather holding down notes and using the drawbars like we would use the ModWheel while cruising through waveforms.
My all time favorite example of a classic killer B3 sound, was Steppenwolf's " The Pusher. " There's a small 4 bar section where the sustained chord has the Leslie go from fast to slow while moving the drawbars. ( It's right before the long descending pitch down bend on the guitar, prior to the repeated intro in the 2nd verse ). It is so simple a caveman could do it. But the sound I described is exhillerating to hear live, as the rotary cabinet is allowed to do it's deadly doppler effect, that can only be felt in a live room as the air is manipulated.
The first time I heard a B3 w/ a Leslie, I was at a dance when I was 12 or 13 years old. Everyone's mom dropped them off at St. Judes, but since I had a paper route, I had my own motocross bike and rolled in like a tough guy would. But Uriah Heep was performing their song July Morning which starts off loud then becomes dynamic, but the B3 w/ the percussion and the Leslie was 20 feet away from me, and I believe that was the first time I got a woody, and goose bumps from music. I immediately begged, and stole to buy a Leslie, and organ. Unfortinately it was only a Farfisa SynthSlalom w/ pitch bend, and vibrato. But that was good for a punk, and I could play the Doors.
Do you know of any semi current songs where someone is using a B3 w/ a Leslie? Probably not, except for Josh Stones last CD, which displays her incredible talent, as I believe she must have sang in the life before. But I truly believe that someone could use it in an ambient style recording, and it would sound great.
One more example where this technique could be used in an ambient way is the song by Santana called Caravanasierra. The Leslie w/ drawbar action and a phase shifter also. It's absolutely as you would say, rich in timbre. You should really try to find and listen to these examples, as they are an example in sound, not chops, where even a guitarist / producer could play his own parts, and sound quite fierce.
I will try and record my B2003 eminating from my Pro3t in Cubase. I can only hope it will be accurate, as I find the DSP Leslie inaccurate, as the throbbing low end demonstrates. It has the sound of a too closely miked large baffle, hence the Ru-Ru-Ru throbbing effect, which cannot be altered. I always like watching peoples faces that are close to the Pro3t at a gig. They always put their hands closer to the horn, like kids who like getting their hands close to the fanblades of a moving fan.
Be Festive,
Last edited by dawman on Mon May 14, 2007 5:31 pm, edited 1 time in total.
