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Neil Young’s gear.

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Neil Young’s gear.

Postby Arpangel » Tue Mar 24, 2020 9:12 am

https://www.youtube.com/watch?v=aJNpZZBjxNk

I’m not a guitarist, but some people are just inspiring to listen to, and the gear they use.
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Re: Neil Young’s gear.

Postby thefruitfarmer » Thu Mar 26, 2020 9:24 am

Always had a lot of respect for Neil Young, I think he is someone who can write a song like every day.

I was expecting a vid of his pedals though.
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Re: Neil Young’s gear.

Postby Arpangel » Thu Mar 26, 2020 10:03 am

thefruitfarmer wrote:Always had a lot of respect for Neil Young, I think he is someone who can write a song like every day.

I was expecting a vid of his pedals though.

Yes, he’s all over the place, it’s that a I like, very sloppy playing style, but over brimming with feel and vibe. He's always reinventing himself too, a true original.
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Re: Neil Young’s gear.

Postby Martin Walker » Fri Mar 27, 2020 7:05 pm

thefruitfarmer wrote:I was expecting a vid of his pedals though.

Yep, so was I :(


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Re: Neil Young’s gear.

Postby blinddrew » Fri Mar 27, 2020 7:43 pm

Is it just a video of a big bag of weed? ;)
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Re: Neil Young’s gear.

Postby Arpangel » Sun Mar 29, 2020 10:38 am

Martin Walker wrote:
thefruitfarmer wrote:I was expecting a vid of his pedals though.

Yep, so was I :(


Martin

There isn’t anything around about his pedals, some artists like to have some secrets, they’ll only tell you so much, come across that a lot, it’s understandable I suppose, like Kraftwerk, not letting anyone into their studio..
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Re: Neil Young’s gear.

Postby The Red Bladder » Sun Mar 29, 2020 2:27 pm

Arpangel wrote:some artists like to have some secrets, they’ll only tell you so much, come across that a lot, it’s understandable I suppose, like Kraftwerk, not letting anyone into their studio..
The only time they did anything inventive and new was when Conny Plank did all the funky FX and he was very transparent about how he achieved certain sounds. Tape loops literally circled his studio, between filter banks and pedals and organs and vocoders and plate-reverbs and synths of all shapes and sizes and . . . well, you get the idea!

As soon as they dumped him, all we got was bog-standard synthesizer plinkety-plonk noises and the usual presets on FX boxes that anyone could and did buy. Whereas Plank had a profound knowledge of technology and musical structure, Kraftwerk seems to be very much in the mold of today's 'army of the clueless' who press presets on boxes that they don't understand and imagine that they are being creative.
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Re: Neil Young’s gear.

Postby Arpangel » Mon Mar 30, 2020 9:32 am

The Red Bladder wrote:
Arpangel wrote:some artists like to have some secrets, they’ll only tell you so much, come across that a lot, it’s understandable I suppose, like Kraftwerk, not letting anyone into their studio..
The only time they did anything inventive and new was when Conny Plank did all the funky FX and he was very transparent about how he achieved certain sounds. Tape loops literally circled his studio, between filter banks and pedals and organs and vocoders and plate-reverbs and synths of all shapes and sizes and . . . well, you get the idea!

As soon as they dumped him, all we got was bog-standard synthesizer plinkety-plonk noises and the usual presets on FX boxes that anyone could and did buy. Whereas Plank had a profound knowledge of technology and musical structure, Kraftwerk seems to be very much in the mold of today's 'army of the clueless' who press presets on boxes that they don't understand and imagine that they are being creative.

I have to agree here, Conny Plank is a massive influence on me, producing most of my favourite artists. And yes, Kraftwerk lost whatever they had after they stopped using Plank.
Plank never got the financial rewards, or recognition he deserved, he was treated quite badly by Kraftwerk.
Conny Plank turned down the offer to produce U2, as he didn’t get on with Bono.
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Re: Neil Young’s gear.

Postby ManFromGlass » Mon Mar 30, 2020 1:41 pm

The Red Bladder wrote: 'army of the clueless' who press presets on boxes that they don't understand and imagine that they are being creative.

Thank you for today’s laugh! :D
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Re: Neil Young’s gear.

Postby Arpangel » Wed Apr 01, 2020 7:14 am

ManFromGlass wrote:
The Red Bladder wrote: 'army of the clueless' who press presets on boxes that they don't understand and imagine that they are being creative.

Thank you for today’s laugh! :D
:headbang:

But hang on, don’t you think Mr Bladder has a bit of a point?
Back in Conny's day you had to be very clever and imaginative to get interesting sounds and at the same time be unique and individual, simply because there were less black boxes off the shelf to press the presets on. Now those skills have been devalued because a lot of sounds are so easy to get these days. Want a reverse piano? Back then you had to record it, and play it backwards on a tape machine.
Phasing? You’ll need three tape machines, and there were no loopers then, apart from tape loops!
The result of all this was that you stood a good chance of doing something unique, as everyone wasn’t using the same gear, and everyone did it in a slightly different way.
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Re: Neil Young’s gear.

Postby ManFromGlass » Wed Apr 01, 2020 12:48 pm

I was thinking more of who would get into a bar fight first due to outspokenness, RB or me. I have a tendency to forget to use my inner voice too often!

As for your other point - back in the day there wasn’t as much gear around to make sounds with so, true, one had to work harder but it was a limited pool of sounds even within avant-garde compositions due to the limited access to equipment and equipment limitations. There were always those wonderful little breakthroughs though.

Today I believe I have access to 4000 patches in Omnisphere alone so I don’t have to lose my right brain creative rampage due to the left brain shutting it down because of a technical issue. The poor sod who spliced together 458 minuscule slivers of tape to get 30 seconds of maybe music had it much worse in terms of trying to keep the creative juices going.

But I think RB was thinking of those who put a few loops together and call it music. There has always been boring music but I bet there is at least 1 person who really likes that 2 loop "tune".
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Re: Neil Young’s gear.

Postby Sam Spoons » Wed Apr 01, 2020 1:03 pm

There are an infinite number of sounds out there (literally with analogue synthesis) but there are a finite number of sounds that are sufficiently different from other similar sounds to be considered unique*. The problem, these days, is that so many sounds have been created/discovered/used that it is much harder to come up with something original (and sufficiently different from something similar).

* There are, also, a finite number of melodies or chord sequences.
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Re: Neil Young’s gear.

Postby MOF » Wed Apr 01, 2020 1:39 pm

* There are, also, a finite number of melodies or chord sequences.

Says who? On another SOS thread, re copyright, some computer programmers have generated billions of tunes and I’m not sure if that’s truly the limit.
Copyright relies on four bars of similarity. You’ve got 128 notes in the midi specification, typically six note values from semibreve to demisemiquaver, dotted notes and their ‘rest’ counterparts in any order you like.
I don’t know what the mathematical permutations of those elements are but it must be huge, otherwise we’d see a lot more court cases than we have to date.
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Re: Neil Young’s gear.

Postby Sam Spoons » Wed Apr 01, 2020 2:32 pm

Huge yes but finite.
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Re: Neil Young’s gear.

Postby Dr Huge Longjohns » Wed Apr 01, 2020 2:44 pm

Not necessarily finite. Presumably you can go on shortening or indeed extending a wavelength to infinity in either direction. You wouldn't be able to hear the notes as such but they would be there. So on your giant midi keyboard you could still create a melody starting from C8,000,942 in theory?

Just did a quick google and the greater wax moth can hear up to 300k so there's already a whole new market out there for very high pitched music. Presumably they play it at their moth balls?
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