Konfyouzd
Return of the Dread-I
I like turtles.
I like turtles.
Umm, if speakers are (as you said it) linear... doesn't that mean they act as presumed? (The hypothesis is taken from the IR, which is kind of a derivate of the speaker function)
I always thought speakers don't act linear (in the tone-volume function-> more volume-> different tone)
That plus IR is taken in the function of time, not @ one instance of it - so I don't know if I, or you are misinformed.
If you think Joey Sturgis has better sounds than Periphery, I really think we do have different tastes in the subject. And don't get me wrong, I think Joey does have really cool sounds, but as they could ever beat Periphery? Hell no.
And yea, as Cliff has mentioned (IIRC) - he has a better cabinet simulation technology in pocket, but the hardware just isn't there yet. So maybe someday you'll be satisfied with digital cabinet simulations.
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I meant that speakers AREN'T linear. sorry.
Honestly, I don't think Periphery's mixes are even close to the level of quality Joey puts out. I don't care about most of the bands he works with, but he is a very talented producer/mixer. Extremely clear mixes, really aggressive and over the top, tons of little ear candy effects all over the place, really well balanced mixes... I prefer mic'd tones a la Sneap/Suecof/etc., but Joey is really good at EQing the POD to make it sound its absolute best. He knows how to keep everything really crisp and controlled and knows exactly where to emphasize the treble/presence in each instrument. His cymbal samples are extremely detailed and sound great... probably the best cymbal samples for programming drums available at the moment.
I like a lot of Periphery's music, but I don't like the vocal production, the superior drum tones, or the distorted guitar tones. I actually think some of Misha's really old POD stuff sounds better than the recent full length & EP. At least then the tone had some aggression and bite to it. The guitar tone on the full length is rather dull and muffled sounding. I get that they want to have a bit of that jazz fusion kind of vibe to it, but it just cuts all the balls out of it for a metal guitar tone. I find it really ironic that that whole crowd chooses to use digital amp sims and impulse responses, but rave about how natural and organic their passive pickups are at the same time. The Sneap approach is just the opposite... super crisp, clear, processed sounding active pickups into real amps and cabs....
That's interesting. Have a link to where he said that? I quit paying attention to the fractal forums when I sold the Axe-FX. I'm curious about the new signature Thordendal products by DAR coming out... supposedly they tried to address the "static" issue of IRs somehow... not sure if it will make much of a difference, but I do like what I've heard of the amp (just saw a video of Ola from Feared playing it this morning)
We just r-guing semantics now?
Production is subjective.
Production is used to take a great product over the top.
There are also bands that have way too much going on.
There are bands that try to use production to make bad music acceptable.
But then there are bands that have a great product and use production to complete it.
Just like everything else in life, use it sparingly.
Is there really any other point to be made?
So, yeah, troll...
I like turtles.
We're actually arguing whether the subject is objective or subjective...
Does it matter?
Does it sound good? Yes or no?
That's all that really matters.
4 pages of people arguing over semantics and objectivity vs. subjectivity is a bit ridiculous.
That's what I'm saying... People are thinking these things can be sorted by rules or such and I'm saying they cannot. What did I do wrong?
I edited it at least a half a dozen times to get the point across.
The problem is that 3/6 pages are you and that other member arguing over irrelevant topics.
I AGREE with you, but seriously.
I like turtles.
But I have definitely seen a lot of nit pickiness in how those go about their mixes. It confounds the shit out of me that someone can like the music but not quite like the production, and this is how they would have done it differently. I like different bands and their different albums all for different reasons, but I have never nit picked their production.
An example of some of that pickiness goes down a lot at the Andy Sneap Forum. I like that forum, it’s
quite informative. But that production over analyzing of mixes happens a lot there.
For example, we we’re arguing, because it definitely wasn’t a discussion, that Cabinet Impulses were good sounding and worked on their own in a mix, others argued that Impulses were inferior, not the real thing, didn’t breath enough. Ok so it’s not a real speaker, doesn’t have that sense of moving air, but in the mix of a song, does it sound good. I’ve heard many songs where it’s all amp sims, cab impulses, superior drummer and DI-ed or bass simmed. You can over analyze it to death about it not being REAL, but yuh know what, DOES IT FUCKING SOUND GOOD is what matters to me.
Ola has done stuff that was all sims, and processed though it may be, in the end it sounds good to me, nice a heavy and tight and that’s all I care about. Complaining about what you think about the highs, the lows, what mid range the dominant freqs sit in, seriously now, do we need to argue that to death. Of course you can make a shit mix, you can definitely take something and make it sound shitty, to thin, too boomy, muddy and so on. But to nit pick shit like cab impulses not being real enough, not dynamic enough is just plain silly.
I don’t like EMG pickups, they sound too compressed to me, but I have heard countless bands that play EMG and they sound fucking sick. In the end to em ask yourself once simple question
DOES IT FUCKING SOUND GOOD
/thread
Well that basically proves my point. It's subjective even if mass approves it.
Joeys mixes are really nice (even though the drum programming/sample replacing in the mixes is really dynamicless and machinelike) I just don't like the sound of his. Also, I'm not an expert on his mixes (have heard like, four or five of the pretty recent ones) so I might think othervice also.
And I don't think majority of people agrees you with the Pod vs. FX thing. Again, Misha is himself a lot happier with his Axe-FX mixes (according to the fact that he said Axe-FX is the best addition to his recording gear ever) than the POD mixes. As said, you can't argue wiht opinions.
Just because he likes it more doesn't mean it's better or that professional mixers would agree that his axe-fx mixes are better. I don't mean to single out Periphery at all, by the way. Let's be realistic here, Misha got the Axe-FX because Meshuggah was using it at the time and there was hype I believe from Cynic and also Devin Townsend starting to use them around the same time. Tosin from AAL and bands like After The Burial, Born of Osiris, etc. started using them after that because Misha was using them (and of course Meshuggah). It's people copying each other, and it's definitely a fad of some sorts. A lot of these guys don't know all that much about recording or mixing. They just want to own the cool new toy that their favorite guitarists are using. Even though I think Tesseract's album doesn't sound that great either, I was happy to see Acle be more open and honest about what he thought of the Axe-FX instead of just hopping on the bandwagon and proclaiming it the best thing ever.
Just reading the OP again and it looks like his statements were giving a hidden jab at all the aspiring guitarists following bulb's footsteps (whether it was intentional or not, I don't know). There's too much focus on getting a fantastic guitar sound with your exensive gear, to only play a bunch of riffs that's thrown together for the sake of it? A lot of the showcased songs literally only follow their heroes and lack their own identity. At least it well produced and polished so even if the song is terrible, it sounds great through the speakers. To these guys, production has become far more important than the music.
I love good mixes. I love good songs with mediocre production, too.
I love spending time to get that perfect mix cause I love tweaking and perceive it as an art. I'm a tweaker. I wont settle for less when I know I can do better. I don't have expensive equipment, which in turn fuels my desire to push it as far as I can. Attention to detail and striving for improvement is why I dabble in recording, and ultimately why I pick up the guitar the end of the day. Knowing I have a relatively decent mix to back up my writing expands my creativity exponentially. If it doesn't for some, that's too bad. This proves just one thing, no one are the same. And thank god for that.