..of course, it's not just the 12-string used, but the signal path: amp, mic choice, mic placement, desk... not that you needed telling

I bet he does. Although I have a Synthi and I wonder how different it really is from just processing guitar through one of those, apart from the fuzz circuit. They look cool. One of these days I need to sample the Avatar's Hex fuzz as well. I used to have one.

Yes, of course. Although sometimes it is the instrument itself that has most of the character you recognize... and then sometimes it is the room or the mics or the pres... that's what I've been learning on this "trek" sampling in different studios and in fact just this morning I decided I think I'm going to write a book about it. Because we've had a unique perspective that someone wouldn't normally have just from working on albums (because no one working on albums works with this many diverse engineers and studios... not realistic for a label to fund! Especially these days...). Seeing and hearing first hand the difference of all the elements of production (mics, mic placement, mic pres, outboard gear, rooms, engineering styles, atmosphere...) I've come to appreciate the contrasting differences between it all. I almost want to just document everything for my own library of knowledge but I am sure there will be people that will find it interesting... and I've been taking pictures of compressor settings, EQ, mic placement and all of that good GEEKY stuff. Gear galore. Maybe a book about sampling and recording or something... it's about time we did that.

a book would be interesting - limited appeal, but would have a definite audience around quite a number of forii

I don't think the appeal would be that limited. It'd be mostly about music production which I think is lacking. We'll see. I think I can make it interesting for enough people to justify doing one... I BUY books so I can compare. The only thing that has really impressed me is www.recordingthebeatles.com I wouldn't go quite THAT crazy but everything is relative.

Anyway, I'm streaming live from The Farm studio for the sample session with Nick Davis now for a little bit so if you can to see it go here: http://www.collab.nl/ Just some unofficial flash site really. A bunch of unsuspecting punters there as well. To chat or whatever. But we can take over for a minute. See you there. You can turn your camera on as well actually and chat if you want. If it doesn't get TOO busy here I'll chat on it with ya.

So did you not give that over to IK for the AT stomps or what???? Please do. I think it would quite a nice thing to have, seeing as they are very hard to get.

I was meaning that it wouldn't have the appeal of, say, Mills & Boon or Andy McNab...

Hope you got a chance to see it. Live sample session.

Hmmm. Cool. They let me borrow the Shaftsbury Duo Fuzz. So I will sample some Hackett-esque guitars when I get home and MAYBE send it to Italy to be modeled by IK as long as it isn't there too long because I promised to return it. I'm going to compare it to my Superfuzz and see if it is really different or not. It looks suspiciously similar.

If you guys are not asleep I could possibly go on the live video thing again while I am sampling double necks and Arps. Not sure if anyone caught that or not but if not you missed interviews and all sorts of stuff. I asked some cool questions to Nick. Well, anyway... either way I'm sampling away here.

I don't know what I am talking about but did Mike use a MARSHALL fuzz for his famous FUZZBASS sound? If it's not too late Dave, go rummaging through the all the boxes in the storage room.

Jim

PS - do the web cam streaming thing again if it is not too late?

Shock horror,

Concerning all this struggle to recapture original sounds, I just found a great magazine article while packing up old books and mags due to shifting house... very timely as I was reading this thread the other day, and only kept these mags as I was such a genesis fiend...

So, here's some stuff from Tony Banks, speaking an an interview in keyboard magazine, November 1984


what kind of processing are you using on your prophet-10 to get your Hammond sounds?
I'm just using an MXR Phase 100 for those organ sounds. And chorus... ....Putting it through the a phase and chorus gives it that leslie kind of sound. I started putting the Hammond through the phaser instead of the Leslie at the end...

Are you using the Synclavier for the organ solo in "that's All"?
Yeah, that's my great B-3 sound. It's better than what I got out of the real B-3.

The video shows you playing a B-3, but you played it on the Synclavier on the record?
Right. Obviously, videos are just for fun. The Real B-3 looks a lot better in the surroundings we had. The Synclavier does a very good imitation of the instrument. It's absolutely spot on. It's another one of those preset sounds.

Quite ironic really!

The magazine also has a 'soundpage' which for you young things was a very thin fexible record, bound into the magazine, just cut it out and stick it on your turntable! this one featured Bill Evans playing"when I fall in Love" on one side, and the other side is labelled "sequential presents "MAX" the muliti-timbral synthesizer.

It's still there in the magazine, I guess I never played it!

Uh oh, Tony's teh suck for using presets!!!!!!


SAMPLE IT! Oops read the EULA first

EULA... i don't think that term was invented then! but they do both have copyright info on there...

Hmmm. Good one. Dude, we're sampling the double neck right now with the 6 string bass. Weirdest thing ever. The 12 string on top has 4 pick ups and the 6 string bass has 3. Oh and they're lending me the Duofuzz. Yeah baby! At the very least I will sample it at home but maybe get it modeled. Now wouldn't THAT be nice? Rare thing. I've never found one.

I can maybe stream if anyone is going to bother to look though.

i would look, I tried to look at the other one but was way too late think. didnt seem to be anything at that link.