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Rimbo

Burnt Ends
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Everything posted by Rimbo

  1. There's nothing about the situation today that crushes my soul. We're in all these recruitments and winning many of them, adding more meat to a roster that is already nearly empty of fat. These are great days my friends.
  2. All right @G650, I'll do you one better. I'll argue in favor of what you're saying. And the reason I'm doing this is so that, instead of just going over the same points you've already repeated over and over that I already understand, you'll be able to take a step forward and see what I am trying to say. So here's Dave Mustaine playing with the San Diego Symphony. Now, I don't know about you, but it sounds like complete ass to me. It sounds like complete ass because of Everything Else. He's playing among instruments with massive and subtle dynamic range, among performers who have mastered that dynamic range. And on top of that, he's hitting notes out of tune that need to be bent into the right pitch. I don't think anyone's going to say that Mustaine is a bad guitarist, but in this environment, his skills are underdeveloped to the point of sounding amateurish. Why? Because he always only ever played or practiced his guitar with the gain cranked to metal levels. He doesn't have a lot of mis-hits in his playing, because that's how he practiced; but dynamics, tuning, subtlety... are completely absent. Again, because this is how he practiced. Until this concert, he never needed subtle dynamics, and being out of tune occasionally was acceptable for various reasons. But here? The guitar and symphony don't work together; it's jarring and painful to hear.
  3. @G650 I know what you're saying. And -- once again -- I've spent the past 45 years getting good at "everything else." I don't suck ass at everything else. Whereas the ghost notes/mis-hits are not just something I suck at, but something I've actively trained (over 45 years) to do on purpose, and have to re-train my hand to do differently. Of course you have to work on everything else. But saying you shouldn't do focused work at all on things you are particularly bad at -- or even saying that it's "bad musicianship" to work on exercises that build up different skills to improve ( @tigol) -- is singularly terrible advice.
  4. Yeah. Colt getting injured vs Bama was not a freak accident. It's the result of a sorry OL facing two real DLs in a row when your QB is also your best running back. now let us never speak of this again
  5. even broken squirrels find a clock twice a day isn't that chris hall
  6. ...you need to talk about anything?
  7. Goldens who were actually friendly to me are outnumbered by those who never wanted to have anything to do with me. But I've never met a lab who didn't want to be my new best friend. In fact I generally get along with dogs, even Chihuahuas, who are notoriously bag with strangers. Just not Golden Retrievers.
  8. I had a teacher tell us that this was, in fact, lazy behavior, and that we should all try to be this kind of lazy. He was great.
  9. was thinking about submitting "America" for this for sure
  10. Team Anyone But Looch
  11. You only gotta listen to the intros. 🤣 But uh yeah... Ted Templeman's bio was... eye opening.
  12. Including Hagar.
  13. I'm avoiding Van Halen songs because (1) I'm trying to cancel out my massive VH fanboyness and (2) you could pretty much just point to their entire discography.
  14. "Let's Go Crazy" and "Enter Sandman" are top notch choices. Let's bring in some favorites from 90s/00s EDM... it's a shame the Orbital song doesn't go nearly as hard as its intro
  15. Not a pic, but... OMG. https://www.fcc.gov/ecfs/search/search-filings/filing/10509027302965
  16. ☝️ That's the actual best, but it's not my favorite. THIS is my favorite intro.
  17. OK, "you aren't going to be persuaded otherwise" is just being rude. Which given my asshole response earlier is warranted, OK, but I'm trying to have an actual honest conversation here. Secondly, "Quieter things get relatively louder when you have tons of dynamic compression" -- clean-channel vs high-gain -- is literally the definition of what dynamic compression does. You're basically saying here that dynamic compression doesn't do ... the thing that dynamic compression does. I guess if you have a lifetime to learn an instrument AND no intention of being professional, "just let it happen" is fine. But I don't have enough hours available in the day or years in my life to wait for a skill to subconsciously appear; I'm going to steal and develop every skill-building exercise I can get my hands on, find the ones that are most efficient, and dedicate the beginning of my practice sessions to doing those things, so that I can make the path from being shitty to being adequate as short as humanly possible.
  18. I see what you're saying here. Thing is, that's not a new skill for me. I have plenty of control over volume and expression with my right hand. I've gained that from decades of bass fingering and plucking, cello bowing/plucking/col legno, etc. Including palm muting on the bass. What I lack on the right hand is: 1. A really good feel for the gap between strings, since they're so much closer; hitting more strings than I intended is exaggerated at gain. Like, if you barely brush the wrong string with the pick without gain, it's not really going to be audible if you're hitting the strings you intend more forcefully. At high gain, every little tiny mistake like that is going to be as loud as the things you meant to do -- the result of dynamic compression at those levels. 2. Palm muting techniques at high gain are really a whole different technique from what I do on the bass or with a clean guitar. Also, more to the point, palm muting's not a habit I want to gravitate to instinctually. It's a capability I want to deliberately train. That's what exercises are for; training your hands into flexibility and skills that you can use, or not use, at will.
  19. Ok...I have no idea why I responded to these like a complete raging asshole. Sorry about that. I'm looking at my responses now and thinking, "What the fuck was I so mad about?" BUT....... I saw this interview snippet with EVH and it reminded me of this... because I think he's talking about what I was trying to describe. Point I was trying to make then (with a heaping mound of unwarranted assholeishness)... and I think what Ed's talking about here... is that direct into the amp, high gain sound, every time a finger on your left hand brushes the wrong string, every failure to palm mute, is going to make an absolute mess of whatever you're trying to play. For me in particular, since I'm used to playing bass clef strings that need a lot more effort to play, and even on my acoustic guitar with its broad neck, my tendency in the left hand on the electric guitar is to smack around the other strings when I play. My hands are trained to pull-off and hammer-on with every note rather violently (taught explicitly to do so by cello teachers - the string doesn't speak fast enough without it) ... and that doesn't work at all on a narrow-necked electric at high gain. As for my right hand, palm muting is an entirely new technique I'm having to learn. Doesn't matter so much on a clean channel; critical at metal gain levels so that you don't end up recording slop.
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