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JimboK

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About JimboK

  • Birthday 11/30/1999

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    California
  1. Doogie Howser Theme Song. About as Prototypical as the DX-7 gets?
  2. Hello all, Sorry for the newb question (and I should know this already) but... How do I get the big sweep found at 0:32 of this song: That isn't just guitar volume swell right? There's some synth sweepage, right?!? A filter sweep alone isn't enough, I tried sweeping up resonance too but it doesn't sound right. I know this is used copiously in rock music, I've just never found a good solution. Adding to the difficulty will be switching from the LFO swept pads and the left had synth bass. But I can probably figure something out. Any input would be appreciated. Using Kronos btw.
  3. My son turns me on to tons of new music and most of it doesn't impress me much but I loved this homage to 80's synth work. You may think it's old news, but if you haven't heard The Weeknd, enjoy this: Sucks that there are youngsters SOOOO much better at sound design than me! lol
  4. Thanks for the tips. the 24db filter made a HUGE difference along with filter env. versus trying to use res.
  5. Hello all, Working on doing this song in a new side-project and am struggling to get a close approximation of the compressed synth thing at 2:28 mark. [video:youtube] I can get the amp envelope right but tried both square an saw waves with closed filter and resonance set high enough but still sounds too "bloopy". Anyone have any guidance to make it get that percussive feel? I'm using AL-1 on Korg Kronos (but interested in other approaches too, could it be heavily filtered organ perc?)
  6. What dan said. And you don't have to think about programming the controller at all. It's just a slave action with all sounds coming from the Kronos. Easy, fast, powerfull, no compromise action wise. But 2 boards. But one DI out, no keyboard mixing, etc.
  7. Changing my KB connection situation a bit and going to start running stereo (I know, I know). So if I am using a Radial JDI Stereo, Can I run unbalanced 8' TS to the DI, then using THRU to monitor mixer with 10' TS. FOH will get the XLR from DI in cases where house runs sound. I'll just use 8' TS straight to monitor mixer when we do our own sound (mixer functions as FOH rig in those cases). I guess I just want affirmation of what I think I already know before I start soldering up custom cables.
  8. I agree it's about the dumbest thing ever.... However, people go nuts when I play mine. It's undeniable.
  9. I am a firm advocate of vintage hard sided suitcases from local thrift stores. Usually under $10, tacky enough to not get stolen and hold a ton. Also, convenient carry handle. Can't beat it. I run as much gear as I can fit in them....
  10. Yeah, I'll give you that Mike, Cooke was an all around talent. And Perry may have been a one trick pony, but he might have been the Secretariat of Singers. Otherwordly pitch. A voice equal parts whiskey and velvet. He always performed in recorded key (this is big. A vast majority of the big hitters dropped a half step at least for live play). He was a guy with a Lamborghini of a voice. So the fact that he happens to clearly worship Sam Cooke is just a force-multiplier bonus! You stated that Cooke was in a whole different league then Perry. I just posit that Perry's voice allows him to hang in ANY league.
  11. I'm both a huge Sam Cooke and Journey fan and although I think the influence is clear and insanely strong, I disagree with MikeT156 on the point of Sam being a better vocalist. Sam Cooke was an innovator and was amazing in every way. Steve Perry simply had a more powerful instrument. In fact, I really think Perry's voice, in it's heyday, was the most powerful male rock voice in the history of the genre. As soulful as Sam Cooke? No. A one-in-a-billion Stradivarius level set of pipes? Yeah. I'm ready to start putting up videos to make my case.... Just tag me in.
  12. Okay, you likely hate the new Billy Ray Cyrus, Lil Nas X disaster that is dominating popular music. However, you have to love how Walk Off The Earth brings amazing vocals and rhythmic ability to even *edit* "questionable" songs. Hope you enjoy: [video:youtube]
  13. Omg, thanks everyone for the replies. Unfortunately, other then "later is better" it's hard to gather a takeaway as several of you issued caution on the same front I started with: "One badly placed song takes the wind out" and "never take the risk of breaking the ambiance just because you feel that you HAVE to play a slow song" Those are the exact sentiments I was starting with... Like I said at the start... More art then science right? Thanks though. it does help to see that we're not the only ones with these thoughts and concerns. I'm thinking we wait until later in the night (late set 2 on a 4 hour night and see where it goes. We can add more if the reaction is huge)
  14. My 80's band is still struggling with ballads. Song selection, placement, reception, etc. Always seems to be a struggle. We play monster 80's hits from the pop to the hair metal (Think Billie Jean to Livin' on a Prayer). Song list goes over really well. Dance floor is always solid all night. When it's not we're still playing songs they love so much they are screaming the lyrics back to us (Here I Go Again, etc.). So far, so good. The issues is ballads. Whenever we place them in a set, 75% of the time it feels like we're ruining a vibe we've just built over the last X songs. Sometimes it feels okay. So then we decide to make them "floaters". Put 'em in when it feels right. Guess what, it never feels right, so we push it somewhere and still feel "meh" about it. Now you would think I'm saying ballads go over horribly right? Well, I would say 60-80% of the time, the dance floor slams full. Band still feels energy is lost, but it clearly works most of the time. We know that there are always members of a dance audience where the husband will only dance slow songs, so this is his chance with his honey. So the big question is how many night and where in tarnation do you put them? Earlier messes with dance floor energy less but less dancers; later get's more action but usually at the expense of a 4-5 song buildup dancefloor packer session. It's so much more art then science. It kills me.
  15. So my band is starting to play more "show" type gigs (2 hours) and less 4 hour, 4 set bar slogs. As such, tightening the show up is now a higher priority. It seems 3-4 songs in a row would be the target but does anyone have any contradictory input? I figure classic format would be 2 huge songs to start, then a short introduction by front person to allow tuning of any issues to start the show (static in IEMs, bad cord, etc.), then we start rolling 4 songs blocks through as much of show as we can (15-17m durations). Ending with 5-6 absolute barn burners. Stop 12-15 shy of end, pretend to be done, then come back and do 2 song encore. Does that sound right?
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