Posts by Monkey_Man

    Yet, this comes up periodically since... day one :)

    Indeed.

    One issue would be that the effect of each tone knob in a guitar amp usually changes depending on the others', so that for example the eq curve set by the Mids knob @ 12 is different depending on the Treble knob's position.
    No profilation might capture that: what we actually would need would be amp-specific tonestacks behaviour...

    Agreed 100%, mate.

    Classic noodling so often heard in '80s movie soundtracks, man. Bit of Steve Lukather phrasing in there, subtle, but the rhythmic approach to the phrasing, IMHO. Appropriate of course, 'cause his fingerprints were all over that '80s stuff.


    Only criticism is it could easily have been a bit brighter, helping the notes to jump out and grab you more and revealing their attacks. Well done, Neil. 8)

    Just wondering if anyone has found a way around it?

    It's impossible to answer this question (and unfair) without mentioning names, so your thread may be moved to another subforum. Just a heads-up on that, mate.


    I remember Dan from Reamp Zone's mentioning something about this a few years ago. IIRC he may have had to dial the amp's gain back a tad.


    After a quick look around I found a bunch of Krank offerings including the Rev, so yeah, somebody has Profiled it successfully, and not just one person, but at least 7. I highlighted the Revolution examples:


    On Rig Exchange

    Krank Nineteen80 - Evil Rich, MightyWarlock

    Krank Revolution One - SinMix, Fluff, Keary Jordan, Juanma Blanco, L. Barta, Nick

    Krankenstein - MightyWarlock

    Krankenstein+ - Thumas

    Krankenstein Jr - Nick

    Krankenstein proto - Tecks


    Commercial

    Krankenstein - Double Impact, ChopTones

    Krank Revolution One - Reamp Zone

    Lovely job with the lead break, Steven.


    Toto's always been my fave band (since age 10 or something), and IMHO it's a brave set of individuals who dares to cover almost any of their songs. Tell me, was omitting the jam-out at the end an artistic decision? I'm kinda kidding 'cause if you didn't want to tackle Steve's epic stint, I wouldn't blame you. Judging by how you handled the lead-break proper 'though, I reckon you just might've been able to pull it off. Personally, I wouldn't even attempt one note. :pinch:


    Tough to replicate the impact of the accents and cuts too, as you'd no doubt have noticed.


    Well done to you and the boys, man. Excellent effort for a tricky tune. 8):thumbup:

    Marty Friedman apparently believes that the main reason the Japanese are so big (and skilled) on guitar is that the Shamisen has been used for so long in their traditional music.


    So, I figured I'd share some cool Shamisen clips from Yoshida Brothers and Wagakki Band. Been meaning to share WB for a long time but haven't got around to looking up links for my faves, so just a couple o' recent clips will have to do, but they've been around for a long time:


    Wagakki Band




    Yoshida Brothers Exposed settings




    Yoshida Brothers Band contexts



    Well Keith, if it's any consolation, it's a path well-trodden:


    Hear about Kemper

    Think about Kemper

    Get back to life matters

    Hear about Kemper again

    Think about Kemper more-seriously

    Flood your mind and ears with YouTube clips and forum comments and endorsements

    [Optional] Watch a camel's back-breaking straw of a Profiling clip

    [Optional] Share your apprehension about taking the plunge here on the forum

    Make it happen

    Declare that your only wish is that you'd have caved earlier


    Congrats and welcome, buddy. All that's left now is to enjoy the fruits of your wise decision. :D8):thumbup:

    Still on the search for that big guitar sound...

    The big guitars are big-enough for the sound of the period, I reckon. No point in their being even-bigger IMHO, Per.

    IOW, you needn't strive for something bigger... IMHO. By "period" I meant the era when that sort of mix was popular.

    Thanks, I’m not sure I understood the last part of what you said, it looks like English but seems to be suggesting there’s some acceptable less than maximum largeness on guitars which clearly can’t be what you intended because that makes about as much sense as saying there’s a loud enough amp. I must be miss-reading.

    Well, there is such a thing, of course. I can hear Quincy Jones right now saying, "The rhythm guitar is too-big. This will be a pop release so let's tone it down a bit and re-track it." He said a similar thing after hearing Beat It once Steve Lukather had finished his tracking, declaring that the guitars overall were too-heavy for a mainstream pop release with the aim to flood the market the way it was hoped Thriller would. Bear in mind that Steve wrote and played all the parts except for the lead break, so that iconic chorus riff and chika-da_da-daa, chika-da_da-daa rhythm part ushering in the lead break were his.


    Granted, Quincy said, "too-heavy", but it could just as easily have been "too-big"... IMHO.


    Another way of looking at it:

    When I listened I wondered what more you could have done to increase size without totally washing out / dominating the mix with the geetar, and I could come up with nothing. At the same time I felt that it wasn't necessary anyway. That there burger is already supersized IMHO, brother. :D

    I love the way the "chorus" comes in with the 3-chord accent, man.


    The big guitars are big-enough for the sound of the period, I reckon. No point in their being even-bigger IMHO, Per.

    Classy and interesting, Andy. Tasty note choices for the lead break and perfect use of the triangle.


    I'm a sucker for well-executed lead-volume fades, and those were sublime. :love: Larry Carlton would be proud.

    Is that a Suhr Natural Modern Satin?


    It looks classily-dark, whereas most come off the shelf a bit anaemic-looking IMHO. I wonder if the picture lighting makes it look that way, you've stained it, or maybe just got lucky 'cause whilst most are pale, some are darker.