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Post by yotonic on Sept 29, 2017 10:49:49 GMT -6
It's hiding his "Trump" neck tattoo....
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Post by yotonic on Sept 28, 2017 21:42:38 GMT -6
I've had a lot of people telling me to check these guys out. They're coming to town in the spring, it's cool to see the lines blur between genres when the music is good.
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Post by yotonic on Sept 28, 2017 20:48:00 GMT -6
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Post by yotonic on Sept 22, 2017 2:00:33 GMT -6
Can you share the shootout unit7 I'd love to hear it. AMS 1084 is a great pre.
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Post by yotonic on Sept 19, 2017 18:41:41 GMT -6
Not looking for conflict, just sharing my experience. Take it or leave it.
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Post by yotonic on Sept 18, 2017 23:27:48 GMT -6
No I haven't missed the point. I am in the venue business. And while I appreciate the good vibes of your opinion you are not well informed on the reality of the venue business. The "venue" business? What sort of venue would that be? In what size market? My experience is in San Francisco, where there was a definitely tiered system, back in the days when Bill Graham was top dog, and there was definitely plenty of room for small and medium venues which functioned as "farm clubs" (to use a baseball metaphor) for Bill's upper level operations. If you want, I can go into detail, but at the moment I'm ill and don't have a whole lot of energy, so I'm not going to go into it now. Yeah a lot has changed in the music business and some things are still the same. I own a 1000 cap venue in western New York. Like most medium sized markets we have a player at each tier, 5000 cap, 1000 cap, and a few smaller 300 cap rooms that also serve as bars or craft breweries etc. We all still do it for the love of the business/music because it is a grind for all of us to stay as busy as we would like. The smaller rooms that are feeder rooms struggle, because there's not a steady enough flow (3 days a week) of quality acts routing through to keep more than the best 1 or 2 of them afloat and most of them survive primarily as bars. And it's harder and harder to get people to come out to see up and coming artists. For a larger room like me I have to book every decent act that comes through from Mastodon to Brothers Osborne, to Victor Wooten. And I have to put the smaller developing artists out of WME and the other big agencies "somewhere" so that I have a relationship with the artist down the road should they develop into an act that could sell 1000 tickets. And there's never enough meat left on the bone, it's a super competitive business and it requires a lot of money to pay the bills. In the "A" markets like Philadelphia and New York you can have a couple of larger rooms battling it out and staying afloat but when you move out of the City and hit the routings, most medium sized cities like a Buffalo can only support one viable tour stop. And in markets like DC and NY you have AEG and LiveNation sinking large corporate dollars into venues (Fillmore Philly) and buying up the tours as well. It's like competing with a casino for a booking, they have "silly" money to overpay guarantees and drive the independent guy out. It's hard for all of us, the artists, the tour personnel, the venue, no one is doing it for the love of money today. If they are they won't be around long, not when they see how little money there is!! LOL And I forgot to mention that most of the large arena venues in medium cities keep busier with sports because there are fewer and fewer recording artists today who can fill an arena, generally it's legacy artists, and cheesey pop stars. The next day Disney on Ice, then Monster Trucks and the night after that a hockey game..
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Post by yotonic on Sept 17, 2017 19:38:13 GMT -6
If you're in an "A market" you are competing with large corporate interests like AEG/Live Nation and landlords with large massive real estate holdings. I disagree. If you're in an "A-Market" the big guys aren't really interested in competing with you. What they WILL be interested in is cherry-picking your top acts for openers. You have to be in it for the lopve of music, not the love of money. If you're in it for the love of money, get the HELL off my lawn! No. You have have totally missed the point. You need to build and support a local scene, not rely on outsiders. No I haven't missed the point. I am in the venue business. And while I appreciate the good vibes of your opinion you are not well informed on the reality of the venue business.
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Post by yotonic on Sept 10, 2017 18:34:38 GMT -6
The good news is that there is a hell of an opportunity for creating new venues. I watch "1000 cap" rooms come and go like new artists. It takes a ton of money to build a good venue and if you're in a secondary market it will take almost a decade or more to make it back. If you're in an "A market" you are competing with large corporate interests like AEG/Live Nation and landlords with large massive real estate holdings. And if you're running a "small venue" you are working around the clock to make the same pay as someone with a mid level corporate job. And in secondary markets there isn't room for more than one player. You need every pro tour that comes through town to be able to pay the bills, and then that has to be supplemented with corporate events, benefits, and weddings.
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Post by yotonic on Sept 3, 2017 18:15:17 GMT -6
What always gets left out of these discussions is that "in general' most bands aren't very good. It's been that way since the 50s. Then all of a sudden some one and his band come along and they are so incredibly talented that they put their art form and genre on the map, and suddenly everyone loves heavy metal, or grunge, or rock, or whatever. Art is only as relevant as the Masters who are able to elevate it beyond the norm. You can always find a "scene" during any decade of tight knit fans and talented players. But true greatness that leaves a mark on history has far less to do with the number of chords played, the style of dress, or the current status of the genre. The great ones make any genre relevant.
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Post by yotonic on Aug 28, 2017 20:13:06 GMT -6
Another song where John's voice sounded great this one on the Wunder CM7 with a BAE 1073. The BAE chops out some midrange on most voices, but this works on his voice in a mix. Attachment Deleted River"
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Post by yotonic on Aug 26, 2017 20:58:25 GMT -6
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Post by yotonic on Aug 26, 2017 16:09:57 GMT -6
"Songwriting" never makes a good forum topic for obvious reasons. But I try to post artists' work in it that I think the members here might find interesting or motivating. There was a time 5-10 years back where guys were working like mad on co-writes and writing teams but those days are gone, same with making records to a large degree. Charlie Peacock has a ton of great gear for sale on Reverb right now if anyone is looking for some high end pieces.
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Post by yotonic on Aug 25, 2017 16:57:06 GMT -6
GS will absolutely NOT delete members even upon repeated requests. In order to get my account deleted I had to publicly challenge Joolz to delete it if he had the balls. That did it though! You're not kidding... looks like even our fearless leader is back in their 'good' graces! I happened to notice today the BANNED designation no longer besmirches his name... I'm quitting RGO if Kennedy loses his outlaw swagger.
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Post by yotonic on Aug 23, 2017 15:58:06 GMT -6
Yeah "Old Man" to me is everything that is great about songwriting and production. Nashville studio players recording a talented songwriter with an aesthetic that is timeless. I've chased that sound, the instruments, the Quad Eight gear etc.
This week I finally got my hands on a 1976 Neumann U87i in mint condition from the old Stardust Recording Studio used on Sly Stone and others. It is "that sound". Nothing zingy, a beautiful "almost" honky mid range, just soulful Americana sounding, super vibey. I'm stoked. I've owned three vintage 87s over the years all different sounding and none "the one". This is it. Pry it out of my dead hands. LOL
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Post by yotonic on Aug 20, 2017 19:35:57 GMT -6
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Post by yotonic on Aug 19, 2017 22:10:04 GMT -6
I still come across truly gifted players and songwriters on a regular basis - whether the commercial machinery is in place to elevate as many of them as radio and A&R did in the 70s - probably not. But they are still coming. Just like they did before the 70s. There will always be amazingly gifted players and writers, now it just seems harder to filter them out of all the noise out there without the curation of the old A&R departments. And a lot of them aren't doing it for the "record contract" anymore, those days are gone and so are the hordes of posers. "At times" it seems to have returned some nobility to the craft as the gifted artists are grinding it even without the promise of commercial success. Yes there are a lot more mediocre people playing instruments, and making records with their laptops, but there are just as many super gifted musicians now as there were "then". That upper 10% of players seems to have more to do with nature and seems to stay pretty constant throughout the decades across genres. I just met Jacob Collier a few weeks ago and he's a truly gifted player who Quincy Jones is mentoring. The kid is relevant and fresh and the crowds at his shows span from high schoolers to retirees. The "hoardes of posers"? Fewer? I VEHEMENTLY disagree. There are far more posers, fakes, "bedroom dabblers", and other sources of random interference/noise in the market than ever in history. There used to be gateways that insured a certain minimum level of talent and skill. Now any kid who can raid his mom's purse for enough twenties to score a library of loops at GC - or more likely just steal it off the internet - is a "pahdoosah" and "artist". They even claim to be "musicians" althoughh they can't play a note on any real instrument. It's a travesty. It's an infinitely tragic state of affairs. There is no longer a way to attain recognition on the basis of merit alone. There is no longer any reward or recognition for real talent. That's not to say that real talent doesn't get through - but only with other money behind them because the industry itself has no funds for artist development. My guess is you don't work in the business and that your vehement disagreement is based upon opinion rather than professional observation. I can see why you might have the impression that it's worse today, but for some reason it's not. Or maybe it's just different. I work in the venue business and there are less of the annoying 80s/90s arrogant long haired wanna be rockers with their half a million dollars in gear bugging you for gigs like they're going to be the next Motley Crue. I honestly believe the internet has helped pop their bubbles somehow, or they're all 65, or perhaps posers today are just a little better informed about the business with all of the behind the scenes information today. There are certainly still plenty of artists woefully misguided about their talent level but they seem to play less "dress up and make believe rock star". There's little to no fame or money in it today, so those kinds of people gravitate towards the easier ways to get on TV or get rich. Being a touring band/artist today is a grind and that's why a lot of talented people up and quit or move on from what appear to be largely successful careers. By the way there are still PLENTY of gateways thank god. "In general" shitty bands don't get gigs in pro venues, they don't get booking agents, they don't get label and tour support. You might not like them, but on average the majority of them are not shitty bands and they usually are the better incarnations of their genre. And they can build their own base and business that translates to ticket sales. Today the people that complain the most are often the ones the least qualified to be there anyhow, people for whom music should remain a hobby. There absolutely is recognition and moderate to excellent financial reward for real talent, just far less room for average talent. I personally like that.
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Post by yotonic on Aug 18, 2017 23:12:21 GMT -6
I still come across truly gifted players and songwriters on a regular basis - whether the commercial machinery is in place to elevate as many of them as radio and A&R did in the 70s - probably not. But they are still coming. Just like they did before the 70s. There will always be amazingly gifted players and writers, now it just seems harder to filter them out of all the noise out there without the curation of the old A&R departments. And a lot of them aren't doing it for the "record contract" anymore, those days are gone and so are the hordes of posers. "At times" it seems to have returned some nobility to the craft as the gifted artists are grinding it even without the promise of commercial success. Yes there are a lot more mediocre people playing instruments, and making records with their laptops, but there are just as many super gifted musicians now as there were "then". That upper 10% of players seems to have more to do with nature and seems to stay pretty constant throughout the decades across genres. I just met Jacob Collier a few weeks ago and he's a truly gifted player who Quincy Jones is mentoring. The kid is relevant and fresh and the crowds at his shows span from high schoolers to retirees.
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Post by yotonic on Aug 14, 2017 22:54:02 GMT -6
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Post by yotonic on Aug 12, 2017 20:32:24 GMT -6
It has little to do with production. I work around bands and labels for a living and MANY of them are delusional. They think because they are signed or know how to arrange and record on Pro Tools that they are talented. And some are talented, for the nice little towns they come from, just like their local high school quarterback. But almost none of them are as talented as they think they are, and very, very few could EVER be studio musicians. There was a time when musicians from Neil Young to Steely Dan respected the craft of musicianship and cut records with the best players. Today these retards think if they buy a Flea 47 and Manley Voxbox it's going to change something - it won't. Some people practice harder and are more naturally gifted and deserve their success. The rest are here to torment us with their belief that outboard gear and Dave Cobb will make them successful, and they aren't going to pay for it because they don't pay for anything else on the world wide web.
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Post by yotonic on Aug 12, 2017 19:47:15 GMT -6
The world has always been full of douche bags. Don't put yourself in the way of oncoming traffic.
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Post by yotonic on Aug 8, 2017 19:22:04 GMT -6
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Post by yotonic on Aug 8, 2017 13:55:29 GMT -6
The K47 keeps your tenor voice from getting too nasally. The M7 accentuates too much top end, not as much of a peaceful, easy feeling...
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Post by yotonic on Aug 8, 2017 5:04:17 GMT -6
I always liked the Wonder CM7-GT (K47) and CM7-GT (M7). John had this comparison up years ago and I saved it. My experience with the K47 and M7 capsules is also what you can hear in the comparison- a little more detail and fidelity in the M7 but ultimately not as "cool" sounding on his voice, and it should always be about what makes the singer sound better for the song. In this case the K47 just has more cowboy swagger for lack of a better description and that fits this track. So increased detail and prescience doesn't always equal "better" when it comes to making music. Which is why incredible vocals from John Paul White to Bono are made on Shure mics or whatever else. I've said it probably 65 times, but you can get a better sounding vocal out of putting your time into modifying technique and the human voice than a mic capsule. Huge swings in content and quality. Attachment DeletedAttachment Deleted
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Post by yotonic on Aug 2, 2017 2:45:35 GMT -6
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JOYWAVE
Jul 31, 2017 22:41:41 GMT -6
Post by yotonic on Jul 31, 2017 22:41:41 GMT -6
Just finished tour prep with these guys. Fine young men, super humble & talented. Made their own record in a barn over four months with rented vintage gear. I hope this album cycle booms for them. It's great to see the unbroken chain of creativity and drive weaving through the decades and resolving to the root chord. Buy their record if you don't mind supporting some great kids.
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