I remember when the Flaming Lips did Strychnine.  They were weird but my kind of weird.  Personally, I think they DID sell out.  People think they got better but I think they got boring.  I thought Soundgarden got boring as well, but I didn't hate them like I hated Flaming Lips. I never did like Smashing Pumpkins.  Pesonally, I was surprised by the whole Nirvana thing.  I didn't ever get my hands on the Butch Vig demos (which really weren't demos as they were supposed to be a 2nd Sub Pop album, they just sound like demos in comparison as they were done on the cheap)that they were doing like my friends had, so I never heard the songs until after the album actually came out.  The live songs I did hear in early 91 were the songs you heard on the second half of NEVERMIND (side 2?).  So yeah, I was surprised.

....On a local level , I can readily imagine that . I did'nt think of Nirvana or Soundgarden as having a particularly commercial sound , but , I never cared for any of that stuff. It was plain to see Nirvana was going to be big , before "Nevermind" even came out....But , it did'nt seem to me like they planned it that way. Cobain still complained to no end after they did make it. But , that was later. Maybe the idea of success on your own terms was , in his estimation , slipping out of his hands.....But he was'nt being a full out whining little BABY the minute success came , like Billy Corgan did. In Chicago , NO ONE dared criticize Smashing Pumpkins , tho' they sucked from the word "Go".  It was just like a few years earlier , when I lived in Dallas. The Flaming Lips were the band you did'nt dare say you disliked , and they were from Oklahoma.....They were just doing this Classic Rock sludge - Zeppelin meets The Doors meets later Who , played  very badly , but NO ONE (eXCEPT ME.)  used to put them down.

Oh, there were people calling Soundgarden and Nirvana sell outs (even Nirvana were calling themselves sell outs as a joke) here in Seattle, but it was those "underground" types who didn't want to see them get popular and keep them on a local level.  I was rather proud when they were getting ahead and popular.  They didn't pander to industry standards and also they got vinyl written into their contracts and proved you could still sell that format.
 
John Battles said:

....When The Ramones broke up , they were only playing mega - stadiums in Argentina.  They were still playing many of the same venues in the states , and , perhaps in Britain and West Europe , that they'd played 15 years earlier , or to crowd of about the same size. They were'nt hurting , but they were not a multi - million dollar franchise , like they are today , when  , barring their three drummers (Clem Burke did two gigs. He's an honorary Ramone.) , second bass player, and , if you wish , Richie Ramone I from the VERY first , undocumented , lineup (WHO MOVED TO SF and  co - founded The Nuns.) , THEY'RE ALL DEAD.

They went out on a high note , you could say , playing the Lollapalooza tour , but, they were third - billed to Metallica and Soundgarden. I realize The Ramones were not selling millions of records like the other two (Maybe Soundgarden had'nt hit the million mark....YET.), BUT , I SAW NO REASON THE THREE COULD'NT RECIEVE EQUAL BILLING.

No one calls Metallica sell -outs , OK , SOME PEOPLE DO . NO ONE CALLED SOUNDGARDEN OR NIRVANA SELL - OUTS WHEN THEY WERE STILL AROUND (Soundgarden , of course , reformed recently , and , to their credit , they just played a place , here ,  that maybe holds 3 - 5000 people.). But , if a legendary Punk , or proto punk , band  , strikes while the iron's still relatively hot - Be it The Stooges , The Dolls , The MC3 , The Pistols .....someone's going to call 'em sellouts. Rock'n'Roll does'nt have a sweetass retirement package , especially if it never made you rich in the first place.

....When The Ramones broke up , they were only playing mega - stadiums in Argentina.  They were still playing many of the same venues in the states , and , perhaps in Britain and West Europe , that they'd played 15 years earlier , or to crowd of about the same size. They were'nt hurting , but they were not a multi - million dollar franchise , like they are today , when  , barring their three drummers (Clem Burke did two gigs. He's an honorary Ramone.) , second bass player, and , if you wish , Richie Ramone I from the VERY first , undocumented , lineup (WHO MOVED TO SF and  co - founded The Nuns.) , THEY'RE ALL DEAD.

They went out on a high note , you could say , playing the Lollapalooza tour , but, they were third - billed to Metallica and Soundgarden. I realize The Ramones were not selling millions of records like the other two (Maybe Soundgarden had'nt hit the million mark....YET.), BUT , I SAW NO REASON THE THREE COULD'NT RECIEVE EQUAL BILLING.

No one calls Metallica sell -outs , OK , SOME PEOPLE DO . NO ONE CALLED SOUNDGARDEN OR NIRVANA SELL - OUTS WHEN THEY WERE STILL AROUND (Soundgarden , of course , reformed recently , and , to their credit , they just played a place , here ,  that maybe holds 3 - 5000 people.). But , if a legendary Punk , or proto punk , band  , strikes while the iron's still relatively hot - Be it The Stooges , The Dolls , The MC3 , The Pistols .....someone's going to call 'em sellouts. Rock'n'Roll does'nt have a sweetass retirement package , especially if it never made you rich in the first place.

Show #410: "The Eggman Collection #130" playlist:

Kevin Ayers - "Song From The Bottom Of A Well"
Rainbow - "Does Your Head Need Straightening/Midnight Candle"
Kansas - "Reunion In The Mountains Of Sarne"
Stu James & The Mojos - "Wait A Minute"
Linn County - "Cave Song"
The Blue Men - "Glob Waterfall"
Os Mundi - "It's All There"
Destroyer - "Mercy (We Had The Right)"
The Paragons - "The Tide Is High"
Pugsley Munion - "What's Right For Me"
Thoughts And Words - "What A Funny World"
Unit 4+2 - "You Ain't Going Nowhere"
Dantalian's Chariot - "World War Three"
The Kinks - "Helga"
Dion - "Knowing I Won't Go Back There"
Billy Nicholls - "London Social Degree"
The Ballroom - "Love's Fatal Way"
Roxy - "New York City"
The West Coast Pop Art Experimental Band - "Endless Night"
Paradox - "What's The Rush, Dillbury"
Tony Jordan - "The Wind Calls"
Queen - "Save Me"
Strawbs - "Martin Luther King's Dream"
Emitt Rhodes - "Holly Park"
Sweet Thursday - "Jenny"
The Golden Dawn - "Evolution"
The Beatles - "Tomorrow Never Knows [Mark I, Take 1]"
The Sunshine Company - "Bolero"
Pete Ham - "Catherine Cares"
David Bowie - "Suffragette City"
The Atlantics - "Moon Man"
David Crosby - "Laughing"
Fanny - "Bitter Wine"
Kangaroo - "Happy Man"
The Merry-Go-Round - "Missing You"
Gong - "Flute Salad/Oily Way/Outer Temple/Inner Temple/Percolations"

Click here to stream this show now: http://eggmanrulez.com/m3u/410.m3u
or to download: http://eggmanrulez.com/streams/410.mp3

***To stream The Metaphysical Circus live via the web click this link: http://portsmouthcommunityradio.org/listen ... to listen to past shows, view playlists and more, fan the show by "liking it" on facebook: http://www.facebook.com/pages/The-Metap ... 6748511750
Live every Friday night at 10pm to 1am EST on WSCA-LP 106.1 FM, Portsmouth Community Radio!

Egg

IT'S THE SAME THING ALL OVER , THOUGH , NOW. DJs ARE KILLING LIVE MUSIC. YES , I DJ EVERY CHANCE I GET , BUT SINCE I DON'T PLAY 80'S Crap , Industrial Dance crap ,  NEO - DISCO ,"DANCE" MUSIC , House , Techno, Trance  , Hip Hop and (C) Rap OR NORTHERN SOUL , GIGS ARE FEW AND FAR BEHIND.....COMPLAINING ABOUT IT WON'T CHANGE THINGS , I KNOW ....

But , these DJs that people come out to just worship , if they even play a record , it's to scratch it . Samplers , drum machines , all that lot , whatever it is , I would'nt pay to hear it, and if you can get a gig , now , spinning Rock'n'Roll , it's in venues that don't charge a cover, so they may or may not pay you at all...AND, FORGET ABOUT TIPS..   But , I think smaller "cities" like Dallas are really getting hammered by the DJ Disease. My friends all say it's wiping out live music in Dallas.  It's just that the dynamic is similar to the "Disco Sucks" days , but , no one's saying Dance music or Hip Hop sucks....However , I believe , now , there's room for everything. It does'nt mean everything you try to do is going to be worth your while , and , even if you sell out to "The Man" , and play only music untouched by real instruments , you'll still have to wait in line behind one barrage of irritating hammer - to - the forehead non - beats after another.....

Oh , and Frazier Thomas also hosted a later version of "Bozo's Circus".

John Battles said:

Well , I seriously doubt Garcia was aware of The Butthole Surfers , though stranger things have happened. Someone told me they had an out of body experience , the last time I saw The Surfers. Maybe they were just trying to get out of the building !  I've heard a few stories , nothing you would call an Urban Legend. But , in truth , Gibby's Dad was Jerry Haynes , aka TV  kIDDIE SHOW HOST , MR. PEPPERMINT. The Drummer in Chicago Silly Punk band , TUTU AND tHE PIRATES , was Frazier Thomas , host of Kiddie show , Garfield Goose and the SUNDAY AFTERNOON movie program , Family Classics.

The two twin Brothers in The Pork Dukes were rumored to be Dudley Moore's illegitimate Sons.

Here's a Rock'n'Roll urban legend : Tony Sheridan dies.

Yes, I know he just did , but , I got the word about 20 years in advance !

Boy , if I were listening to it , now ,it would help -

 I've got things on my mind , girl.

cobwebs in my brain , if you've got the time , girl , help me ascertain

How to rectify the growing mental pain of  *T-R-O-U-B-L-E , TROUBLE  

I can see the future , looking fast at it (Or looking back at it?)

If you've got a soul , then , give me some of it...So I can learn to take in stride the problems that I have inside   , somewhere there's a place I fit , I can live with just a bit  of *

Everybody's got their trouble , some can ride above it , but , every day's marked down as double , and I'm headed for a fall.....

Your deciding factor is one way I can win , but , you've got to help me , every inch of it.

That's not to say don't bother me , or blind to your reality , somewhere there's a reason strength (?)  , never be a troubled  friend *

it's pretty much like that. Bonniwell's phrasing and use of what he himself called "Ten Dollar Words" make this not the easiest task . I remember, I thought I knew the words to "Talk , Talk" , until I saw them transcribed in the liners to Alice Cooper's "Flush The Fashion " , where he covered it , I might add , for a second time.

Whatever does'nt seem right to you , I'd say , make something up.

Does any one know or have the lyrics to trouble by music machine? If anyone can help I'd really appreciate it :)

Maybe , In his subconscious , he could see something. Some people just know when it's their time. We all have to go at some point , preferably in our sleep or from sexual exhaustion. I'm just sayin' . John 
 
Mark George Harrison said:

Paul was known as 'the man with a plan' JB, maybe he knew something we dont, would like to think so.

John Battles said:

No , it is'nt , mate , but , somehow , it will make more sense , to you , why some of us had to check out of this life when they had so much more great work ahead. Is there a reason or a rhyme ? I doubt it ,bu t, that does'nt mean he's not still here with you , and guiding your life , insipiring you to make it something better. That much , I can assure you , will make itself known.
 
Mark George Harrison said:

Thanks John, he had a great send off, it was a proper celebration of a life. 56 is no age though.

John Battles said:

Yeah, and sadly for us , not for them , Wilko will be joining your friend and Reg , soon , but, remember , they'll be having a better time than we are.

My condolences about your friend.

 

Paul was known as 'the man with a plan' JB, maybe he knew something we dont, would like to think so.

John Battles said:

No , it is'nt , mate , but , somehow , it will make more sense , to you , why some of us had to check out of this life when they had so much more great work ahead. Is there a reason or a rhyme ? I doubt it ,bu t, that does'nt mean he's not still here with you , and guiding your life , insipiring you to make it something better. That much , I can assure you , will make itself known.
 
Mark George Harrison said:

Thanks John, he had a great send off, it was a proper celebration of a life. 56 is no age though.

John Battles said:

Yeah, and sadly for us , not for them , Wilko will be joining your friend and Reg , soon , but, remember , they'll be having a better time than we are.

My condolences about your friend.

 

I had the same guitar and I used Labella tape wound. they have the bounce of round wound but a thuddy attack, less sustain, and a naturally dirty tone.

facebook likes can be very misleading...friends of friends will like a band page just because a friend tells them to. So...even if the band blows dick they can have 15,000 likes and only a quarter to half of the likes are legit.

And there's stuff like this. LOLOLOLOLOL. http://musicclout.com/contents/article-109-why-you-should-be-on-pinterest.aspx

Hi Mike, we talked about it on here and FB I think. I'd love a copy still and I promise I won't use it in lieu of porn!

The Guardian? bit highbrow for me mate!

Mike Spenser said:

Do you still want a copy? Get in touch...here is a pic of the original posting in the Guardian the week it was originally shown...

Hi Chris, you DO sound like you might be in the UK, judging from your choice of some words and your expressions. If that be so then serioulsy think to contact me and come down and try your hand behind my "mean machine". I recently had a chance to drive my friends American "souped up" classic car with an engine that reminded me of the kind of cars I had in the 60's like the 68 Corvetter with 4 on the floor and 2 Quad carbs! In otherwords, come and use, with care and my careful overlooking, some of the gear and make a sample recording to see how it works basically. You too Great Dismal Swamis. I have stuff with no makings on them, certainly NOT "Made In China", just custom made for the BBC (it was originally a 1955 BBC recording studio)... most of the compressors, eq's. filters, power supplies that are all valve, LARGE valves! They just made things in their superb laboratories for the government financed national radio that the BBC was, and still is. No expense spared! When I stand in front of the desck and get ready to jump into some work it's like getting behind a Massaratti or Lamborgini or some classic old well tuned machine! Or even a P-40 or Messerschmitt! Come and share that experience with me. I'm a very open guy. Another thing, I have several rooms in my large Victorian house in South London but some of the rooms are a little too small for my liking but I have to settle for them that way. I cannot just chop down main bearing walls without planning permission and great money. So even though I have a perfectly suitable control room behind and one to the side of the studio room I have to be content with the mixing desk and all the recording equipment in the same room we bang away as we have the drums and amps set up! I am singing most times with a handheld mic in one hand and my other hand on a control if I see the meter zooming too high or too low. Sometimes we set up the bass amp under the stairs, the guitars in the hallway or upstairs or in the laundry room! But with a long sets of mic/DI leads to the stagebox, leads, long leaded stagebox and extended leads for the headphones, we can still all be in the same room and hear everything live as we are playing..what a gas! The seperation is not a problem if the gear ins in the same room either. And my vocals, well, either i get it right or the whole band would kill me for running a god track. Even so, the band is so loud and raw that my vocals hardly get picked up anyway. But standing in front of the band, in the same room, finger on the red Record button and saying "go for it" is so exhilerating as we all fell like we are in control of the whole situation. I was lucky to be the frist on line when a grear studio announced and had a sale of their equipment before closing down. First thing I did was run in and go for the microphone table I saw while wiating through the window. I snatched up ALL the mic's for sale, sets of two identicle  matching mics for stereo compatability, especially important for setting up the mics to record drums and overhead cymbal mics. I have all kids of lovely Seneheiser's, AKG, valve mics! and plenty of meaty studio Shures including special ones particularly good for bass deum and bass guitars.

How I got the actual studio gear, sans mics, is a great story, to be told another time. All I can say is I got it absolutely FREE complete with an "L" huge mixing desk with the huge black dials pushing 6-7inch panpots! I have the consols and controls and most of the wires and preamps but had to dump the huge wooden desk. Some studio in Shepperton Studios used ALL my gear, tape machines, amp racks, and old desk things for which they constructed a dummy one from the one remainig 50's picture I have that came along with the studio...that story is reallyworth telling but for another day...and I got paid over 2000 GBP just for them to use the gear in a movie I never hear of since. Easy money. Only one easily replacable tube broken (BTW, all the tubes and components that needed to be repalced during the two years of setting up the studio with a young engineer from the Vintage Valve Museum were ORIGINAL tubes as they used when the parts were first assembled back in the 50's and 60's. Please remember that the equimpment was the accumulation of building a studio over a period of time and several pieces may be older by a few year of other stuff in the collectio I have now, but none made after the mid 60's.

In closing about my home studio experience, though I am always finding some tapes in little hidden cubby holes all over the house, I reckon all told there are close to 100 X 10 inch reel tapes, most 1 inch 8 track, many 1/2 inch 16 track and several 2 inch 26 and 24 track tapes. Out of all these countless sessions, maybe only one or two (I still can only find 1!) is unusual due to my beign "over drunk or stoned on almost anything at hand!) I am lucky to capture all that great music without missing a single session (almost again) totally ripped and often coherent just enough to press the "Record" button on unsteady legs and getting a sound I could maybe never get while totally sober or straight!!!

Thanks a lot guys I have some really good starters here.

I'm going to have to favor the analogue side of things, if not for the sound but for the pleasure of the hands on approach.

I read a really cool article from Sound On Sound about digital vs analogue and at the end of it the conclusion was that digital was pretty much as real as it gets but although that seems appealing it's the imperfect qualities and coloration of the analogue gear that make it so appealing, I like the idea of knowing the character of your gear and that informing creative decisions in the mix.

The downside is the access I have to classic analogue gear is pretty skint, I have access to an original Urei 1176, only one which is a little limiting, (honestly no pun intended). In saying that we've got a GML 8200, 8900 and the 9500. The most decent reverbs we have are in the focusrite liquid channel. We've got a few drawmer compressors that are ok but not great. We just a new SSL 948 and a Neve Custom 75 but haven't had the chance to use them yet as they are still being set up by our studio supervisors. I'm sure I'll be able to pull some good sounds with practice and understanding of what goes in the recording process of specific genres. We haven't learned tape yet, we get to use it very soon and we have a studer a827 to practice on which is pretty cool. I guess I'm asking how important is the gear to the mixing stage? Like is the 8200 going to be better for a specific genre than say the Neve 1073? or a pair of 1176's to an SSL master buss compressor? or does outboard processing not have much to do with it at all and I should be keeping it as real as I record it? I watched some Alan Parsons stuff and he didn't look like he did much processing at all, only if something, say the cymbals were lacking, he'd boost a little at the top of the Overheads.

It sounds like I need more experience, I always have this problem with my snare sinking too much in the mix. I want to get better but I definitely don't want to be sitting in front of pro tools to do it.

Mike I had a listen to some of the cannibals stuff, I really dig the guitar sound in city of people and the bass and reverb in Garbage man, can you go through some of the gear and mics you used? Did you engineer it? It's really great stuff.

I had a band in recently who wanted to track individually, I'd recorded them a few months before and of course the drummer goes first. I get the feeling that a bad performance in the studio can quickly become the fault of the engineer because this guy was all over the shop, he recorded to a click and couldn't hit it at all and then when he heard it played back he kept saying that there was something wrong with the way I had set up the mics, that he'd recorded a tonne of songs and the finished product never sounded as bad as they did that day. I'm guessing the engineer at the time was pretty solid at doing drum edits on the run so was able to make a shit performance sound great. How do you guys deal with a sloppy muso while they're blaming you for their performance? do you really give it to them or have a little compassion?

Your advice is appreciated, it's good to chat to experienced guys, I've only been doing this for a year and I really enjoy it. I could go on forever.

Mike,

I very much enjoy your work with the Cannibals.  Great recordings that have raw appeal, with a very full musical sound.  Envious of your talent, and the amount of quality records you have released over the years.  I must mention, your vocals on "Nothing Takes the Place of you" are outstanding.  Really some of the best recorded vocals I've ever heard.    

Kinda disappointed by your Jamaica experience.  Some of my favorite recordings, especially old dub reggae records were produced/ manufactured in Jamaica. Personally, i'm not the biggest fan of Reggae vocals, but I really do enjoy the musical character of recordings by Lee Perry, Sly & Robbie, and especially Augustus Pablo. 

Anyways, Glad we have connected in some form.  We might disagree on aspects of recording, but I know we both love real rock n roll music.   Cheers! 

To Great Dismal Swamis, no you didn't offend me at all. It's just that after recording since the mid-70's and been there, seen it, and all that I get tired of hearing, without malice of course, about the virtues of digital recording. I recently took my wife to Jamaica for our honeymoon. We passed by a small brick building painted with typically garish Jamaican multicolours and a guitar and the words "Recording Studio" on the front wall. True to my nature, we stopped and knocked and expected to see a really funky studio, full of old tube gear and stuff thrownback from the authentic reggae sound, the Bob Marley and others sound. What we disappointingly saw was just a small laptop computer on a small desk and then a tiny booth where musicians would record one track at a time, to create a single digital signal to be incorportated into the final mix. How let down I felt. After making friends with one of the locals inside the studio we carried on "hanging out" in various bars in the area and I mentioned that if possible I'd love to bring all my studio gear to the island and record some great sounds still visable through the marijuana haze. We were visited daily, almost to the point of annoyance, to disuss this possibilty and still I get messages from our new friend out there to consider my plan. Yes, they miss it too. The REAL TING, MAN, as they put it. To be honest, I cannot stop the current tide of going more and more digital and further and further away from the old sound valve sound. I have to accept that there are others, the vast majority actually, that without ever putting their hands, yes it would sometimes take 4 or 5 hands, sometimes crossed over to punch in and punch out a practiced and rehearsed mix where after trial and error a decision was made on how to get the right mix, would miss the point. The joy of listening back to the track after everyone did their part, even with some forgivable mistakes, was ecstasy and as rewarding as anything imaginable. When I listen still to some of the countless tracks I've recorded, mixed and produced, by my band and others that I've chosen to help out with, I can almost see someones hand on the punch in/out button waiting for the right moment to do their job while I might be handling the vocal fader and someone else is controlling the pan or fx level. Someone might also be working on the outboard gear behind the desk and someone else on the far end might be EQ'ing the bass to remove some boom on some low notes in some part of the song. Many times it would just be me, me and en engineer or as many as 3-5 people all "hands on" working to get that desired mix! Real sweat and concentration was necessary. You make a mistake and it's start all over. But sometimes the mistakes make for an unusual and favoured sound and kept!

If anyone is in the London area when I am back in London (March to June) and wants to see and hear what I am talking about, feel free to contact me for a "guided tour"! I am proud of the studio I have, the amazing valves from the early 60's in 2 full 8 foot 19 inch amp racks and my beautiful re-coned huge 60's Tannoy speakers, it's sound and yes, I too have just a sprinkling of some digital gear like my three lovely early Yamaha DMP7's. To "jocky" the tape machines by alternately pressing the FF and REW till you can see the desired grease pen mark that tells you, approximately, when to stop at the track you want, carefully so you don't overspool and get the tape all fucked up (pray that the breaking mechanism on the machines are working properly and well adjusted!), that is REAL studio experience. My countless tapes are slowly deterioating because of the problem with the glue holding the oxide particles, and hence the sound, coming off the acetate backing tape. I am presently transferring as much as I can to HD on a desk top computer I built with 2 x 8 track I/O cards linked together and connections directly from the outputs of the 2 reel to reel macines and using Reaper to record them all. I then have the choice to try and remix them on the compter or to buy new, and very expensive, tapes again and transfer everything I choose back to tape again, just to keep as much of that sound I'll take to my grave with me!

And BTW, I have an old Studer machine just taking up space in my basement that needs repairs and hence can be had for a song....it's a 1/4 inch mastering machine but if you want a final stereo mixdown with the tube/valve sound come and get it!

Tascam 388 is a great analog machine for basic rock and roll recordings, 8-track 1/4 tape with built in mixer.  And yes, record live in the studio if possible, with low-wattage tube amps, spend your time getting the takes right rather than endless editing, outboard processing, etc.  The sound going down to tape should be as close as possible to the sound you want on the record.

I agree with Mike Spenser that Analog tape machines, when used correctly, will achieve a warmer sound than most digital platforms can offer. Personally, I prefer the results from analog recordings. Yes, indeed I prefer tube amps. 1965 Bassman I rebuilt...Bogen phono player I rewired to a guitar amp...rebuilt VOX jaguar organ.  Although, I record digitally, I still incorporate a UA LA 610 or other tube preamp into most of my signal paths.  And, indeed, I hate clicking on a mouse to track and mix...therefore, I do not do such procedures.  I still mix analog, manually, just like you. Wish I had a Studer tape machine, but I don't.  Sorry, If I offended you.

my experience (i work 9/5 in a commercial studio):

 it simply doesn`t matter. shit in shit out! digital is great with a engineer who has the right knowledge to to garage punk stuff and the same is with analog recording.

i personally record/mix/master digital and i take really good care that the signal before the mic sounds exact the way i want it to sound. then i also think that live recording is the only way to make good R`N`R record... i mean vocal overdubs or some solo shit are no big deal but the main stuff sounds the best live... because of the feeling.

regarding some digital gear: you  can make a lot out of it but there are so many plugins and apps or whatever that it`s a bit hard to find the right stuff. once you feel right with it ... it`s very straight forward.

regarding "real" garage sound i made the experience that the mic preamp has a lot to say about the sound colour. tape distortion is something we compared in the studio... plugins and  tape machines: sorry but soundwise both sound very good. so it depends a bit of what you prefer workflow-wise.

hope that helps you a bit.

CHEERS

Rob

I'll join in with the self-publicity and point you in the direction of The Fnords......

This was filmed last weekend at the Creeping Ivies' album launch in Dundee.

http://www.youtube.com/watch?v=5rGzXokYA5g

D.

Greetings from Burgerville Tyler!

Shameless plug, but check out our garage punk combo The Wife Beaters.

www.wifebeaters.co.uk

Our third LP will be coming out in the summer and shows are coming up.

Keep it trashy!