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I think around that time Joy Division was using pretty shitty equipment all over and it was really the production engineer that deserves credit for those sounds.

my bloody television wrote:I think around that time Joy Division was using pretty shitty equipment all over and it was really the production engineer that deserves credit for those sounds.

I totally agree with this.

my bloody television wrote:I think around that time Joy Division was using pretty shitty equipment all over and it was really the production engineer that deserves credit for those sounds.

Most Likely. Not She's Lost Control, but you can cleary see what they used at that time.
[youtube]http://www.youtube.com/watch?v=FzTw4PYfROU[/youtube]

dayum, puberty hit him hard. thats one deep voice.

Teej212 wrote:dayum, puberty hit him hard. thats one deep voice.

He talks normal, Peter could only hear his bass when he played high (almost in guitar range), because Bernard could only get distortion with his amp cranked, so Ian covered the Low End with his voice. I think it works out fine.

I kinda miss the time when more "raw" performances like that were acceptable. No need for immense amounts of polish.

That guitar needs some Reverb or delay though quite badly.

Roseweave wrote:I kinda miss the time when more "raw" performances like that were acceptable. No need for immense amounts of polish.

That guitar needs some Reverb or delay though quite badly.

Most definetly.

what about that really odd sustained sound in the strokes "room on Fire" album? its like in every song.

i love bernard's tone. i always knew it was a vox, but didn't know the model. i'm not entirely surprised that it's solid state. awesome sound.

Blurillaz wrote:

Teej212 wrote:dayum, puberty hit him hard. thats one deep voice.

He talks normal, Peter could only hear his bass when he played high (almost in guitar range), because Bernard could only get distortion with his amp cranked, so Ian covered the Low End with his voice. I think it works out fine.

im not saying i dont like it, im just saying. thats quite the range..assuming he can sing higher?

Teej212 wrote:

Blurillaz wrote:

Teej212 wrote:dayum, puberty hit him hard. thats one deep voice.

He talks normal, Peter could only hear his bass when he played high (almost in guitar range), because Bernard could only get distortion with his amp cranked, so Ian covered the Low End with his voice. I think it works out fine.

im not saying i dont like it, im just saying. thats quite the range..assuming he can sing higher?

Yeah, he sings rather normally in parts of "Shadowplay" live, which I posted a little bit back, and there are some other songs too... Never heard him sing falsetto, though it would be interesting.

Connor wrote:what about that really odd sustained sound in the strokes "room on Fire" album? its like in every song.

Nick uses an Epiphone Riviera with Gibson P 94s, A Fender Hot Rod DeVille 4X10 and a Visual Sound JH1.

I wish I knew how Graham Coxon got the sound he did on "Sing", from Blur's first album "Leisure" (and later the film "Trainspotting")

[youtube]http://www.youtube.com/watch?v=YdrFpPJgxC4[/youtube]

I've tried with my delay pedal, and some reverb, but could never quite get it right. Any advice is greatly appreciated.

That's reverse delay.

Any ideas on how Nels Cline gets his tone on Draw Breath "Attempted"? It's just the main guitar part. Kind of a warm throaty, woody type of tone. I'm assuming it's a klon set to slightly dirty.

Also, on Blonde Redhead "Dr. Strangelove" the main rhythm part has this sorta MBV reverse thing going on. Is that just a reverse reverb?