General Ermintrude

Birds of Fire

bin it. what you are experiencing is just the tip of the iceberg.

Oh yeah, and you've got to finish every sentence with "dy'a want fries wi that, ya fucking cunt? Well FUCK OFF!!!".

You are Lumpo-Tempo, as opposed to my brother, Lumpo-Basso.

Your job description will be outlined in your SIDCA corporate induction pack, which will be forthcoming (you think I'm joking......). Main duties anticipated to include hitting things with sticks, hard as you like. Membership of Team-Sidca entitles you to rant in a tangential, steam-of-consciousness fashion on any matter that tickles yer whatnot, on public forums, bathroom walls or peoples foreheads. You may also dance in a vulgar fashion when people least expect it. After your 4 week induction training programme is complete, you will be allowed to experiment with fire.

Definitely a rant!

I think the members of Cleartone should get their facts straight before blurting out their recollection of last Friday's events at Rockers in Glasgow.

Agreed' date=' the venue booked another SUPPORT act when Forgotten Sons had already taken care of the support slot by inviting Caithness based BOSS HOGG to fill the spot.

The venue was informed regards this and should have informed Cleartone that their services were not required that night.

I would say that they had no right to deface Forgotten Son's posters by writing thier band name on it. The poster was prepared by ourselves and clearly stated we had our own support act.

With regards to the equipment situation, Cleartone had the use of the same equipment as Boss Hogg with the exception of Forgotten Sons guitarist's amplifier which the Boss Hogg frontman used as he is a close personal friend of the FS gutarist and play in another band together. Anyway, another decent Marshall combo was there to be used.

In the Forgotten Sons drummer's defence, he has a double kick 7 piece setup which once in place and set up is rather hard to dismantle and set up again without wasting even more time on a night where it was rather short to begin with.

Our bass player was also kind enough to allow both bass players to go through his rig.

Both support bands played through the same equipment.

Also it would have been extremely difficult for our guitarist to loan his guitar to either of the other bands as he is a left handed player.

Guitars are rather personal instruments anyway and any decent guitarist should always bring a spare for back up.

I should also mention that Cleartone and Boss Hogg were on stage for a similar time period.

Anyway, I won't go on any further, I just felt that a few things should be made clear in amongst the array of childish remarks I've read previously on ths thread.

Concentrate a bit more on your music and I'm sure you'll get where your going.

Keep rocking in the free world!!! [/size']

JM

How dare you come on this board and disrupt such a beautiful display of parochial Aberdonian paranoia with such words. We are a simple people and resent being harassed by outsiders, especially when they speak the truth. Venue owners in Glasgow carry guns and sticks, and do unspeakable things to badgers by gaslight. There's nae folk sae fine as them that bide by the Don and Dee.

Burn in hell, warlock!

Pictures of an all-in drunken brawl would be better.

Broken glass looks so arty!

Fucking spot on.....there is a world beyond this message board...some people need to go and find it.

POT

KETTLE

BLACK

CDs are 16 bit' date=' true. But if you start digital processing afrom a 16 bit standpoint, every single process eats into the bitrate so that when you then dither to a 16 bit CD you get clicks and errors ie it sounds shit. Far better to start from 24 bit so you have some decent headroom.[/quote']

Which is why you're better off with a standalone recorder and desk. All the processing done during the mixing process happens via an analogue desk. You can route the signals through the auxiliaries to external effects without worrying about about bitrate and suchlike. The mixing process is complicated enough without worrying about whether or not you're reducing the signal quality to a digital fuzz. Computers are not ideal for recording music. Software plugins seem like awesome value, but they're not. They're fiddly to use, and it's difficult to predict how they will interact when used together,in terms of level. With external compressors/effects/whatever you always have tactile,'at-a-glance' control over what you're doing. Things can be easily adjusted, without having to fuck around with windows, drop-down menus and suchlike. They also have the added benefit of not sounding like a bucket of shit, which cannot be said about cheap pc solutions.

Real desks also do a better job of summing multiple signals to mono. I've heard the same material mixed through an I-mac and through a real-live desk; to my ears, the desk mixes sound more natural, the computer ones sound fizzy and unnatural.

There's no point in recording unless the sound of what you're doing is important.Pc based solutions are cheap,and sound....well...................cheap

You can jerk-off all you like about bits and bit-rate (though you sound just like a petrolhead banging on about horsepower), but at the end of the day, its all about what it sounds like. A mixing desk is a better environment for mixing audio signals than a computer is. A mixing desk mas better mic pre's than a usb computer box does.

TOY.

Howz that, min?

Aye with a whole TWO xlr inputs!!!!!!!

Let's mike up a whole fucking orchestra!!!

Bits mean fuck-all. A unit's only as good as the quality of its A/D converters. Cheap TASCAM ones will be shitty.

Oh yeah, and the desk's analogue. It'll do any amount of bits, depending on what recorder you wire it up to.

Shucks!

Get a real desk and a standalone recorder. You'll never top it for quality and flexibilty. And they're so damned cheap on ebay! Those intergrated units are a con, they're designed so you outgrow them and buy more tascam( or fostex or whatever) stuff. And as for installing ASIO drivers......

Get this:

http://cgi.ebay.co.uk/ws/eBayISAPI.dll?ViewItem&category=15199&item=3778706866&rd=1

and this:

http://cgi.ebay.co.uk/ws/eBayISAPI.dll?ViewItem&category=23785&item=3779496688&rd=1

instead.

That thing's just a toy.

I think the acousic gtr could do wiv some changes EQ wise i think it sounds too prangy if you know wot i mean?

The technical term is 'a new set of strings'.

He's saving up.

I have heard mr onz

talent?

shitstream

It's better than his front

if you've got broadband, and an hour or two to spare

http://www.mtsu.edu/~nadam/downloads/SteveAlbiniweb.mov

Not true! A producer is whoever's in control of the general direction of the recording session. Not neccesarily directly responsible to a record company.

No, true. That is where term comes from. The person responsible for producing (ie making) the record. The usage of the term has shifted a bit, but that is where it comes from. He was the middle-man between the band in the studio and the company paying for it.

marks mixing skills are good' date=' i wasent aware captain toms had a producer i thought you just got a sound man, Nial from mill studios is rated highly, but im not sure if hes still there, also dave in RnBS pretty good.[/quote']

A 'producer' is somebody employed by your record company to ensure that a record is produced to their standards, be these artistic or commercial. If you haven't got a record contract, what you need is an engineer (this is what you call sound guys when they live in studios). Producers tell people what to do, engineers do what you ask them. Bad engineers act like producers and tell you what to do, mainly because they don't have the skills to do as they're told.

christ.....

What happened to your drummer!!

Oh, just the usual - he put too much explosives inside his bass drum whilst driving his rolls into the swimming pool and choked on his own vomit

PMs received and will be responded too as soon as the little men with hammers stop doing things inside my head

Top local boy-band seeks drummer. Must hit the fucking things hard. Keeping some sort of time also an advantage. Influences to include black coffee and lager. PM to arrange informal interview.

Recording involves making a series of choices .In this case, making them sooner will increase the overall quality of the end item. The chances of making a major fuck-up are slim, unless you're doing stupid things with your compressor ('crazy' or 'weird' sounds, ie fucking about without a clue what you're actually doing to the sound). A good compressor should be able to shape the dynamic of the sound whilst remaining essentially transparent.

Drums sound 'fuller' because you're not wasting the majority of the dynamic range of your recording medium with the initial impact, you get more of the resonance coming through. The human voice has a massive dynamic range which benifits from a tad of compression, just to fit it to the medium. Another benefit of compressing whilst recording is that you effectively double the amount of compressors available to you, which is great if you're poor. And if you do fuck it up, chances are you'll learn from it next time.

Go on, be a man, take some decisions now and save endless hours of jerking off at mixdown.

If you're recording to tape and intend using compression on either drums or vocals, do it when recording, rather than when mixing. Compression will raise the noise-floor of the tape if used during mixing. That's hiss by the way, you fucking plebs!

I saw General Ermintrude a couple of months ago. He was drunk and I found this unacceptable.

I may have been pished, but you were waiting for a fucking bus

I clearly have the moral high-ground here, ladyboy