That's a great idea. I think we all need reminders to... ehhh... remind the newbies about how to critique and when to.
No one is at fault for the decline. It's not healthy to play the blame game—I'm not saying you are. It's an accumulation of various different factors that escalated and spiralled into what we have now. Regulars left or stopped critiquing as regularly, including myself, so we didn't show the 'newbies' how to write and critique, who would eventually take over the position as the regulars. That's how forums work. It's a cycle that somehow was broken here.
Anyone ever tried the Railhammer pickups? Pretty intrigued, they sound awesome in the demos.
I haven't tried them yet but I hear they're quite stiff and bright sounding. They have plenty of depth and warmth with the right guitar but some have found them to have too much clarity. It depends on which model you're looking at, I guess, and what kind of music you're aiming for. If you want vintage tone then you're looking in the wrong place. Ceramic magnets are hard to design as soft and warm. But if you want something cutting and aggressive for a variety of modern styles I think you'll be in for a treat. Very few have disliked them so far.
I was criticizing your 'facepalming' comment. It rubs my nipples the wrong way when someone cryptically bashes another user and offers no rebuttal.
To clarify for everyone that may feel I am giving unclear advice:
Diezel, Splawn, Fryette, Bogner, they all have clean tones. Those cleans have similar characteristics to vintage amps like Hiwatt, Marshall, Orange, etc. They are, however, a waste of money if you only intend to use the clean channel, and further they are a waste of money if you intend to use the dirty channel for Doom, Sludge, or Stoner because they sound too modern and tight. I am not recommending them unless you've tried them out prior to buying. They are capable of playing Doom because they are loud and potentially clean, but they are impractical and over-featured. They will take pedals like a Matamp and thus can sound any way you want, but they're not ideal in the least if you're only goal is Doom.
He had the basic core concept right. Your comment was far more vague. Instead of facepalming him, correct wherever you feel a mistake was made, or fill in the blanks for the OP.
Any amp with a loud clean channel can play Doom, Sludge and Stoner as long as you have the right pedals. I would never recommend someone buy a Diezel Herbert just for the clean channel, but in theory with the right pedals it would work. It's loud, it's clean, it has gobs of low-end. It'll work but it'll be a waste of money.
I've played most of the Blackstar amps but never would have considered them Doom. Yet Matt Pike is using the Series One amps with Black Arts Toneworks pedals and it works for him. This is another example, one that is actually real to life and not just a theory.
What's wrong with that suggestion? It's what most of my Doom, Sludge and Stoner friends use, as well as myself. The most common setup in the States is a Sunn or Ampeg V4 as they can found for cheap and a Black Arts Toneworks Pharaoh or an OXFUZZ. In the UK it's maybe a Marshall Super Bass or a Sound City 100 and a D*A*M Sonic Titan or Meathead. That's perfectly good advice. If you have a problem with it, detail why. Don't just say "no, just no". Being cryptic doesn't give you Internet brownie points I'm afraid.
So many of you have completely the wrong idea of what Doom, Sludge and Stoner Rock is. Modern amps are very different than vintage ones. Even modern companies based on old amps do not sound the same. Verellen, for instance, are based on vintage amps but sound very different. A Splawn is based on the JCM800 topology but sounds and feels widely different. Most bands within those genres don't use amp dirt. Some do but many don't. They play loud, clean amps and raise the volume until people's ears are bleeding. They then boost the front-end with a Big Muff, Face Face, Treble Booster or something else. This is the Doom sound.
The quintessential Sludge sound is Sleep. Matt Pike used a Matamp GT120, a very clean, dry, foggy, woody sounding amp. It had huge low-end; not just overall punch and depth but gobs of bass very early in the amp. This helped shape the way the amp responded. A Splawn Nitro has just as much low-end, but it's too tight and bright. This is the wrong sound. It works for certain Doom sub-genres like Death Metal and Post-Metal but it falls short in Stoner Rock. Good for Mastodon, not so good for Sunn 0))). The same can be said for Fryette. They're great Post-Metal (ISIS, Rosetta, Cult of Luna, etc.) amps, but it's not the traditional Doom sound.
To the TS, don't buy a Diezel, don't buy modern Orange, don't buy a Splawn, don't buy a Fryette, don't buy a modern Marshall, don't settle for anything less than 50 watts if you're playing live and get some vintage pedals (Fuzz Face, Big Muff, Tone Bender, Rangemaster) if you haven't done so already. There just aren't any amps out there that has enough gain to play extreme styles of Death/Doom that also has the right amount of looseness without external colouration, apart from maybe a Dual Rectifier, Laney AOR/GH100L, Orange Rockerverb, or a Fryette Pitbull.
Modern Orange amps are OK but I find them too sizzly and modern. The distortion character is all wrong. The Rockerverb was never designed for Doom. It was designed for more modern rock and hard rock styles. Hence why it's so favoured by bands like The Mars Volta and Slipknot. I love those bands but they're a far cry from Saint Vitus. They still have that dark low-end that comes from an emphasis in the low-midrange, but they are too tight and wet sounding. The drier and cleaner the amp is, the louder it will be, the more low-end it will possess, and the more vintage it will sound.
Crowbar are a little different. They had that Dimebag Darrel sound, in a way. You can get that with a Mesa/Boogie Dual Rectifier, Fryette Pitbull, or a vintage Randall, but you're still better off with a Boss HM-2 and a loud amp like a Simms-Watts 100, Hiwatt Custom 100, Sovtek MIG100, Sound City 100 Plus, Marshall JCM800, Super Bass, Super Lead, Sunn Model T, 1200, Beta, Sorado, Coliseum, Ampeg V4, Ampeg V2, Traynor YBA-3, etc. etc.
In summation, try and find a vintage 50 watt amp and run pedals with it. Or you could go the Laney AOR route and drive the aggressive Doom route.
Done almost nothing but sleep for the past three days, except for the ER and Doctor's and work, but I was pulled out yesterday and today, since im on vacation next week anyway.
Most likely have lyme disease, but it could be one of the other tick-borne diseases. Waiting on blood work to confirm, but I was put on antibiotics a few days ago when i went to the ER. Doctor took one look at my leg and said, and I quote "oh wow...." Said the only reason I'm not in the hospital is because I had two doses of the antibiotic, but he wants to keep a VERY close eye on me. Rash WAS a perfect bulls eye, but now its just giant dark red blotch. This is only the fourth day I've had the rash, and was bit by the tick two weeks ago
Anyway, I feel like shit, and am going back to bed soon. How are you guys?
"I am sick and tired of buying stuff, only to find out poor people, somewhere, own the same thing. I finally found a watch that poor people can't own. I mean, if you buy a watch for 5, 10, or even 15 thousand dollars, there is a possibility that a poor person, somewhere, somehow would save up enough to eventually purchase it. But 112,000 dollars? No, I don't think so. While I have to look at poor people on my way to the club, at least I now can own something they can't."
As technology advances, users expect a certain increase in emotive language. Back in the days of Deus Ex, the graphics at the time were on par with what people expected from the developers, and thus the emotive connectivity to the characters, storyline and surroundings. As graphics improved, so did the perceptions of the gamers and their expectations. That's why Metal Gear Solid is as emotional as The Last of Us. It reflects the curvature of life in general. Not just in the tech industry but in almost all areas of life, people are looking for a new way to evolve and advance. But it has to be taken slowly in order to appreciate the now and not pay too much attention to the future. Otherwise we'd waste too much time anticipating photo-realistic graphics, facial animations, and famous actors playing lead roles and not enough time enjoying the games at hand.
Arguably more emotion can be conveyed with better graphics. But it's not about better graphics, it's about evolution and progress. You change with the games and adapt to them, but at a slow pace. Technically, super computers have the capacity to run photo-realistic graphics in an FPS like Metro: Last Light. But not only would they cost tens of thousands and be rather large, but gamers aren't ready for them yet. There just wouldn't be a big enough market to warrant spending hundreds of thousands of hours in total designing and building titles. We're still mulling over Bioshock and Hitman. That's our zone right now. We don't want or need anything more than that, not yet at least.
I didn't like the imagery of the axe on a 'fresh victim'. I thought it was a bit out of place and interrupted the swiftly moving symbolism.
I did, however, enjoy the bouncy rhythm. Maybe you could try to accentuate that by creating more rhymes. Normally I wouldn't suggest that, but the last two lines and their rhyming scheme struck me above everything else. Might be something to consider.
Plus, it's far less of a chore than shaving, all you do is shampoo your face and then occasionally trim it back down to size.
**** yes. Today I move from 4 jobs back down to a manageable 3. Here's to getting my days back
This. Beard maintenance is much easier and less painful than standard shaving, which is usually required every day to keep the look consistent. A good beard trimmer is a must though. I keep mine shorter than Ben's and shave my neck once a week with a razor.
It's very different than his solo career, but he's still a poet in lyrical form no matter how you spin it, so if you dig his music for his lyrics like a lot of people do, you'll probably find something to love in Million Dead.
Quote by chip46
I finally sat my ass down on the floor and finished tying all the power cables up, so I guess this is how it will sit for a while to come.
On a porch is a 400lb. sphere. The sphere dips on the right side where three teenagers took a Louisville Slugger and tried to crack it open.
II. The Clerical
A homeless man sits across the street from the sphere. He sits in a wicker chair, the fray on the arms is noticeable and sometimes his legs bleed because stray pieces stick into him.
He is missing his left eye. No one asks him what happened. He was in the war. No one knows which war, because no one asks him.
He watches the sphere every day at three. Sometimes he watches it because he is bored and other times because he is drunk, but most times it is because it moves slightly to the right.
It doesn’t roll though, it moves as if it were on a conveyor belt. The dent in the side where the teenagers hit it,
and sometimes the dent isn’t there.
The homeless man sticks his finger into the sphere. He sees the hole and put his index and middle finger inside, and he feels around, searching for something familiar and sharply he pulls it out and there is nothing there but he feels something cold and it doesn’t move but he moves back to his porch and falls asleep.
V. The Dead Kingdom
When he wakes up he is in a black forest and he is reminded of something he’d read once and he isn’t sure what it was but he is reminded.
The forest growshorrible splinters; Fox gullys and astral trees, long oak stranded pointed upwards vying for sunlight these gorgeous birds, forcing down dead prey, bloated, territorial. and the grass is bleeting blue and wet yet it is familiar.
Across the valley there is snow, on a dead hill and beyond that it is red and that sphere sat in the distance on a house in a deep holler, past the splinters. Near a rookery, where several animals gather in ceremony.
VI. The Grand Marquis
As he walks forward the ground turns red and his feet hurt and he washes them in water flowing from a cracked well near the base of the hill,
a house sits above him now and the sphere as well.
He sits down and he moves like on a conveyor belt, he moves and falls into a depression in the ground.
He feels himself moving down and somethingbecomes steeper and the hill is further away and the sphere is red and the hole is gone.
When he stops moving in front of him isa female nude, wearing her hair like the armor of a Myrmidon. Standing in front of an impossibly large gate, blacked by the light coming from behind.
She is holding a sphere like this terrorfying lance like a bloody spear.
He goes to touch her,
this Queen Of Beasts,
elegant as her body spits tanged whips of tension, watching her muscles move underneath her skin like fish beneath the surface of a murky brook.
The sphere, she holds in her left hand, and on her right she points upwards to the Star of Jupiter.
She is warm to the touch & his hands knew only love for a brief, passing second.
Her eyes are coral, they meet and he knows her deepness, her infinite mass, pushing in and out unable to contain whatever it is that rests beneath her eyes. Cancerous Rock, cut oceanic gorgeous Lips, long hair like endless Roads, open mouth. A sign, minor; small.
In an instance she; thewoman takes his throat, gripping it with her right hand, no longer pointing at the star of jupiter.
and inside the homeless man’s throat
is another sphere.
He thinks; “Praetorian Myrmidons.”:She has no tail he thinks.
VIII. The City of Dis
With his throat dripping She let him go past the gate she stoodbefore.
and the gate had words on it that felt familiar. Words he’d seen before or again, heard lost in some static place.
If you're totally new to pedals then I suggest trying out a few pedals that exemplify the best of certain eras and sounds. For instance, there are fuzz pedals for lead, and distortion pedals or boosts for rhythm. Pink Floyd used Big Muffs. Hendrix used Fuzz Faces. Led Zeppelin used Tone Benders. Etc., etc. That's always a fun place to start because both boutique and mass-produced variations are solid. They can also be tweaked if you're competent with a soldering iron and don't mind getting your hands dirty. You can buy kits or you can spend $200 on a sweet looking/sounding clone with a few tweaks. It's totally up to you. That's why it's a sensible place to start.
For chorus, try and find an old Boss CE-2 or a TC Electronic Corona. If you want to keep below $100 then look up Mooer pedals. They're built in Asia and are really solid and compact. For delay, Boss make a couple of nice digital pedals. It's basically the same story. TC Electronics, Mooer, Boss, Digitech Hardwire, etc. These are the guys to look at for all modulation-based effects that function as workable starting points. Avoid them for dirt though. Stick to what I said above for dirt when you're starting out.
It's not too difficult. It's at least quick and fast-paced, allowing for re-playability.
And yeah, Satriani has really mundane gear. He's always been about using stuff you can find at Guitar Centre and working with that. Most big musicians are where they are today because of their style, not because of their gear.