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About DAS44

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    Ulan Bator, Mongolia

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  1. DAS44

    I hate UPS

    I lived for about a year in a.. slightly rough area of Boston. Rough enough that, in spite of specifically requesting that it be left on the doorstep they never would (neither UPS or USPS). Several packages just never got to me, were sent back to the shipper, and I was credited for the purchase. I am not going to be around at noon on a Wednesday for the love of god. Leaving it and taking the risk does me better than sending it the hell back so I never get the damned thing. They meant well, but hell... I'm giving you permission to go for it... Hang in there, eventual delivery'll be even more sweet.
  2. This is the real key in my experience (after some enforcement by teachers and professors alike). There's a thought I've found to be true that what you're messing up at full speed stems from a problem at a slower speed. Halve the speed (take it with a metronome), and play it with excruciating attention to detail. It's the best way I've found to iron problems out of a piece in the crunch time before performances/juries.
  3. DAS44

    Hi Guys!

    Double post, didn't even hit post twice. Router's been acting up lately, apologies.
  4. DAS44

    Hi Guys!

    Few more Les Pauls and you can... continue buying them? Nobody here'd argue Welcome back about
  5. The traditional answer is... keep doing it. The more you do it, the better you'll be able to ride the fear (as it's been put to me). It's said so often because... frankly, it's the way to do it. There's no magical sequence of words that'll dispel the fear, just keep going. Everyone's on your side, everyone (especially the musicians around you) understands. (and if they aren't and don't, **** 'em) I've traditionally had serious troubles performing solo (perhaps because... nearly every time I have it's been in the environment of juries in a formal and classical environment), but every time I do it, it gets better. I used to lock up, hyperventilate, tremble, you name it. I still haven't gotten all that under control (possibly because I do solo stuff so sparsely), but it's better.
  6. DAS44

    oh bloody hell

    I had pleurisy along with bilateral pneumonia a couple years back, it's rather gnarly even outside of the fact that it hurts every damned breath. They threw some anti-inflammatories that did a hell of a lot of good. Hope you feel better soon, if not already. It ain't fun. Curious, as it applied in my case, were they concerned you may have had meningitis? Most of my pain was centered around the spine at my shoulders so it was a concern, spinal tap and all.
  7. Well heck Surfpup, friend of mine suggested Ghost just yesterday. He saw them give an acoustic performance of part of their new album a few days ago. They threw the whole thing onto youtube with links to itunes and the like, pretty neat. To the point though Feels like he's reading from the same worn out book as everyone else I've heard pose this question. Over the past few years I've become increasingly sick of this sort of discourse, as it seems to be borne not of an exploration of today's music but rather a refusal to really dive in more deeply than would allow confirmation bias to survive. Everyone seems to get up in arms when the culture of their preference has faded (even slightly.. in this case), and then suddenly we're caught in the eternal loop of these folk denigrating the younger generation of art, people, politics, anything. It's not productive, and to me it just seems bitter and close-minded. Every generation has had these discussions, within every artistic community. But somehow the sky never really falls does it? I tie this sort of thing in with that classic discussion of the youth... Which has been around since time immemorial... I mean, hell Socrates died over 2400 years ago and yet we still quote him in "The children now love luxury. They have bad manners, contempt for authority; they show disrespect for elders and love chatter in place of exercise." Sort of thing ain't new ... and judging from the performances I've seen from the younger among musicians... I can't really say he's living in a reality. As far as distribution goes he's not necessarily wrong, we're in a transitional period that seems to spell the decline of record companies (which were, of course Walsh's primary means of distribution, income, and musical purchases). It's an honest truth that I can at this moment download 13 different releases of Megadeth's Killing Is My Business... and Business Is Good (2 taken from vinyl, 11 from CDs) in 4 different file types, and this truth isn't going away. Musicians are both increasingly independent of record companies, and more accountable to their audience. I have friends who have put out albums using pages like bandcamp, under the model that you name your price (as I recall Radiohead did a similar donation based system once or twice, though their income probably wasn't indicative of... most people's). If people want it, they can get it. You not only need to get their interest, but their investment (both perhaps moreso than ever before). The times they are a changin' after all, it's up to the artists to adapt. Louis CK (yeah yeah, comedian, not a musician, but it's relevant) offers his most recent stand-up special for any price between $1 and $85 you choose, in part because he knows you can just find it elsewhere (he's spoken about it in interviews I've seen, but for the life of me I can't remember which ones).
  8. Sweet mother of all things holy Charlie, what possessed you to sell that?
  9. Since Steve covered the question, time for nonsense They're roasted cacao beans of course
  10. Sounds like it was a bit of a sham... I'm sorry
  11. Judging by this, and I could list quite a few to this end... Are you by any chance a fan of the album Stephane Grappelli and Joe Venuti did with Barney Kessel on guitfiddle?
  12. DAS44


    To be straight, Beats are flat out bad. They emphasize the bass far too heavily and there isn't much else there. Advertising pays. Budget is really important though, I currently use a pair of Beyerdynamic HD PRO 1s (200 usd), which replaced my accidentally destroyed Audio Technica ATH-M50s (150 usd at the time, new version should be roughly the same), that followed a pair of AKGs (the model of which I have forgotten). The Audio Technicas served me very well for a long time, and I am still quite fond of the Beyerdynamics. Also what variety you're after is important, open, closed, semi? Over ear, on ear, in ear? Etc etc These have been said to be some of the best you'll get under $100 (Currently ~50 usd on Amazon) Sony MDRs are also generally a safe buy, used them often for a few years (this was a few years ago but I can't imagine the formula has changed much) and sit at a few pricepoints. These sit around the 100 usd mark Sennheiser has a habit of making good headphones, and their products sit in a lot of ranges. For about 100 usd their HD 558s are pretty well regarded. Sennheiser, Audio-Technica, Beyerdynamic, and AKG are usually pretty safe bets as far as headphones go. Most if not all of these should come with a 3.5mm to 1/4" adapter, should get the job done for most amps (I've seen those with outputs for both)
  13. DAS44


    $500? Well, judging by the demos I've dug up.... Kidney for sale I'm a bit of a reverb lover... perhaps too much so.
  14. It seems to me this whole debate is more about performance than music as a greater whole, or it should be. I should preface what follows by saying that, in spite of my blues origins and recent classical pursuits, I am both a proponent and fan of the sort of electronic music that seems to receive an inordinate amount of scorn (personal viewpoint mind you...). I'll keep this fairly brief, and by that I mean I'll probably wander on a brief tangents before circling back to an insufficiently argued main point (that is how these things usually turn out for me, ever the one for asides... I identify with Ovid oh so much). Since the OP was spurred on by a "live" performance, it seems best to start there. What's a performance anyway? Etymologically it comes from the old french words par (to completion) and fournir (to provide), so if we're being horrifyingly dry and analytical... all a live performance is... is to present a piece of music in its entirety in a present, moment by moment setting. Misses the human aspect though, the experiential, sometimes varied bit that elevates it above a recording. So where does that lie? My contention is that it's with the person. In some idioms more than others it leans lovingly into the idea that you "never play it the same twice"... jazz in particular, though Mozart himself was known to improvise extensively on his pieces, one of which as I recall he simply wrote down two voices for and improvised the rest on the spot. But heck, some people just enjoy the atmosphere of listening to music in a disorganized conglomerate of humanity... and if they do, more power to them. If you want to dance like a lunatic for a few hours, surrounded by people doing the same, go for it. And if EDM is the vehicle for terpsichore you enjoy the most, who am I to stop you (I wouldn't anyway as I am known to frequently give an ear to the stuff)? I mean personally it takes latin music to get me moving... throw on some Cumbia, Tango, anything latin'll probably move some part of my stubborn *** People will enjoy what they enjoy, and it doesn't have to be the end of all things good and sane in the world. There've been musical conservatives for longer than any of us have been around. Johannes Brahms notoriously rallied against the styles of Franz Liszt (a flashy, technically mindboggling performer notorious for fiddling with all the music he played... to the point where Frederic Chopin once scolded him for improvising on a piece of his) and his fellows of the "Weimar school" (he, along with a few others went so far as to put pen to official proclamation against that school). Lo and behold though Brahms held a lot of clout through the latter half of the 19th century, the music of dear Liszt, and Wagner was in a number of ways the route to Debussy and his ilk, even Schoenberg in the 20th (though... a fair few people would call that last one a foul development). What I'm getting at is... Give it a listen, give it an honest try once in a while. You don't have to like it, but disliking it doesn't invalidate a thing. You might just not have the ear for it right now, I know it took me a hell of a long time to get to a place where I could enjoy anything labelled death metal (it was the vocals that threw me for so long). After all, we've have the archetype of the crotchety elder scolding the youth as far back as Socrates ("The children now love luxury. They have bad manners, contempt for authority; they show disrespect for elders and love chatter in place of exercise.” from a man who died around 400 AD) if there's nothing about "Those damned kids and their rock music" as well something'd feel out of place. :P Worth mentioning that Handel was known for some very heavy "borrowing" (bordering on straight plagiarism depending on who you ask)... and he was no slouch musically. Supplementary footnote, I have a number of friends who compose in a variety of "electronic" genres, chiptune, EDM, hip hop even. Even if it were always just a play button (and it isn't, in fact a number of those I know are particularly fond of the improvisatory), there's still a lot of thought that goes into what they make (at least, if they're doing it right). Whether or not their school of performance ends up fitting yours isn't the important bit... Part of what I love about music is that it can be as intelligent, political, and complex as you want it to be, and that's fantastic. But at the end of the day it can also be as simple as this... If it sounds good to you, makes you feel, makes you move, etc etc... Then it is good.
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