![[-]](https://theultimatetone.com/images/collapse.png "[-]")
Really nice posts. Thank you for the enlightening read!
I particularly like the parts about pick dynamics and controlling loudness in a band/performance setting. As an amp builder one my main goals is to make amps that are touch sensitive, respond to pick dynamics and all of that should be possible at normal non-damaging volumes.
It's a challenge to educate players----I know many players who play far too loud and many who have not developed pick dynamics. I'm not sure that it's entirely the fault of the player though. So many modern low-priced amps lack the ability to reproduce dynamic picking. When I built my first good amp, I found I had to re-teach myself how to play. The cheap solid-state amps and tube amps I'd owned only really seemed to work well when very distorted. I bashed away at the strings without developing feel until I got a better amp.
I would comment on the recording aspect of the post that most studio recordings from the mid 60's onward were done with mics for each instrument. There of course are tons of great recordings done with a few mics before then and lots of live recordings and bootlegs (Ray Charles at Newport for example) that are done with mics in the venue.
The approach that is taken with recording seems to make a huge difference. It may be just personal preference, but it seems to me the more of the recording that is done live the better. An over produced and layered record may be interesting from a technical standpoint but doesn't connect with me as much. While I'm not a big Beatles fan there are some very interesting videos and fairly comprehensive information on how they recorded---it was so simple in comparison to most recordings today. It's hard to argue with the results.
Any how thanks taking the time to post all of that. Great stuff!
I particularly like the parts about pick dynamics and controlling loudness in a band/performance setting. As an amp builder one my main goals is to make amps that are touch sensitive, respond to pick dynamics and all of that should be possible at normal non-damaging volumes.
It's a challenge to educate players----I know many players who play far too loud and many who have not developed pick dynamics. I'm not sure that it's entirely the fault of the player though. So many modern low-priced amps lack the ability to reproduce dynamic picking. When I built my first good amp, I found I had to re-teach myself how to play. The cheap solid-state amps and tube amps I'd owned only really seemed to work well when very distorted. I bashed away at the strings without developing feel until I got a better amp.
I would comment on the recording aspect of the post that most studio recordings from the mid 60's onward were done with mics for each instrument. There of course are tons of great recordings done with a few mics before then and lots of live recordings and bootlegs (Ray Charles at Newport for example) that are done with mics in the venue.
The approach that is taken with recording seems to make a huge difference. It may be just personal preference, but it seems to me the more of the recording that is done live the better. An over produced and layered record may be interesting from a technical standpoint but doesn't connect with me as much. While I'm not a big Beatles fan there are some very interesting videos and fairly comprehensive information on how they recorded---it was so simple in comparison to most recordings today. It's hard to argue with the results.
Any how thanks taking the time to post all of that. Great stuff!
