As per request I’ve been trying to get heavier sounds from the POD, and mostly I’ve been failing, but I did two songs in the last couple of days that are not totally poop. The first is “Who’s the Lying Snout?” - I have no idea what this is.
The second is a song that I wrote 28 years ago, the day I got my Rockman, in 1982. I used the POD and tried to get a sound that was close to the Rockman distortion setting. I think it’s pretty close. The song is called “Anberay” - about an apt. complex in Ann Arbor that a friend used to deliver groceries to, b/c the people in it were mostly unable to walk due to age. Dark old building. Right on campus. 
Here:
http://cookiefinger.bandcamp.com/album/whos-the-lying-snout
Hi Tom, you are annoyingly good at this game
I prefer the 2nd song (Anberay) - I just prefer the style and the guitar sounds. Love the vocals too.
I had a buddy with one of those Rockman thingys in the 80s. I seem to remember it was great fun.
I’d still love to get my hands on one of your song projects to have a look at your production/mixing. There’s some good sounds going on in there and I’d like to see how you do it. 
I like evrything you do Tom generally but I felt the guitar sound was quite ugly & to distorted & didnt suit your material as much
the songs & the playing was great
do you put a lot of thouht into your lyrics they sound simple enough when i can make them outbut knowing you as i do i keep thinking they probly have a really deep meaning i cannot see
i am a big fan of when the singer screams or shouts something as the guitarist goes into a solo & have my favorites ive collected, do you cry ‘sha la la man’ before the guitar break in whos the lying snout?
Thanks for the listens, my friends! Tina- "Sh la la, man’ is a quote from Lou Reed’s Street Hassle. I have always written simple lyrics b/c I can’t write complex ones, and I really only write about 5 or 6 things, the same things, over and over, and, yes, they have a very deep meaning to me. All painful. I was trying to see what the distortion would sound like, and I agree, cleaner would have been better. Real amps distort better.
mark, you are very kind, but you know I don’t have a clue what I’m doing. There is no production here. Put something I’ve done up against something Bubba’s done. Now, that’s production. Never had the patience to learn all the stuff he knows…
Nice tune…If you had a bunch of delay on the guitar intro I would have thought I was in for a new Eric Johnson tune. (Not bad company to be keeping I must say.)Thats the jibe I got off the tone.
You are right it is heavier, but not heavy. JCM800 cranked, maybe.
Anyway very nice song.
Anberay…
GrEaT…
How does that stuff come from this guy … Anyway.
?
It’s something like It falls outta him like
“A Snottie Nose’d Kid”…
when you ain’t got no wipes…
OR
Something…,
I know…
You’re working on a Guitar Amp Sound…
I think you’d be really happy with the sound that you could get if, you had an amp like the sound
from a single output “Class A” tube amp…
One 6BQ5/EL84/6V6 type Amp…
With a 10" or 12" Jensen Speaker, in the box…
An Amp any bigger than that would be too much amp to track with…
I think you were looking at that type of amp a while back ?
Bill…
Enjoyed both of these, Tom.
Is the Pod di or amp and mic’d?
My nickles worth is this: These ‘units’ from stomp boxes to full on modelers are best considered instruments in themselves. They have need to be learned. Instead of notes, keys, finger positions, on and on… they have adjustable elements of tone, delay, verb, chorus, sweep, crunch, compression, expansion, delay, pre-delay, octaves, cabinets, amps, mics, modulation… you get the point. I’ve had my floor pod 3 years now and am just now getting to where I can dial in a tone from scratch and know exactly how each element will effect not only the other elements as a whole, but the other elements individually, depending on how each is placed within the chain of elements added or subtracted to said signal chain. 
Poppa, that is dead on. The whole recording chain is a set of instruments in themselves, making up one meta-instrument. Oddly, the first person I ever heard say this (well, I read about him saying it) was Glenn Gould, the Bach interpreter. He loved messing around in the studio, and composed stuff that could only be realized in the studio. Not too many classical musicians have followed his lead, however.
Tony, these are both just the POD.
Bill, I was indeed looking for that amp. You have several that you are repairing at this moment, I am certain!
Off to do more. And to bug UJ with further not-posting of those tracks he wanted. nah, perhaps I should do that this weekend.
Quote: (TomS @ Jan. 07 2011, 3:13 PM)
perhaps I should do that this weekend.
You better... I went on the clock when we first talked about it. You'll need an Obomber bail-out...
UJ
Quote: (Unblown_Jonson @ Jan. 07 2011, 3:34 PM)
Quote: (TomS @ Jan. 07 2011, 3:13 PM)
perhaps I should do that this weekend.
You better... I went on the clock when we first talked about it. You'll need an Obomber bail-out...
UJ
UJ. I, TonyR, bear witness to a Mr TomS, publicly braking a common contract.
Sue him.
Shoot Tony… this is Amerka! I can sue him cuz I don’t like his socks…
UJ
PS That’s really not funny at all…
The first one was good, the second was OUTSTANDING!
Interestingly, I had always associated the Rockman sound with the rock group Boston, yet there is nothing about this song that makes me think of Boston (not that this is bad or good, I love Boston, but I don’t see that everyone needs to sound like them, either!)
When I got the Rockman, I so much wanted to sound like Boston. that first album is still great.
I will take a bailout anytime. I’m 40 or maybe 60K underwater on the mortgage, I’ve taken pay cuts three of the last four years, I’m working more hours, and I don’t like the direction my neighborhood is going (and it’s a really nice neighborhood). Guess I’m just not too big to fail. Argh. Morons, with an emphasis on the "more."
Anyway, thanks for the listens, again! UJ, I really, really reallyreally promise to think about getting at it, perhaps in the morning.
Quote: (TomS @ Jan. 07 2011, 5:13 PM)
Poppa, that is dead on.
The whole recording chain is a set of instruments in themselves, making up one meta-instrument.
Oddly, the first person I ever heard say this (well, I read about him saying it) was Glenn Gould, the Bach interpreter.
He loved messing around in the studio, and composed stuff that could only be realized in the studio.
Not too many classical musicians have followed his lead, however.
Tony, these are both just the POD.
Bill, I was indeed looking for that amp.
You have several that you are repairing at this moment, I am certain!
Off to do more.
And to bug UJ with further not-posting of those tracks he wanted.
nah, perhaps I should do that this weekend.
Hi Gents:
Nice reply TomS..
You're right..
Every part of the audio chain must behave correctly to persuade the mind to accept what sounds good and/or what sounds extraordinary..
This amp, I believe is all that is necessary in a studio, along with the right mic to make all the guitar tracks that you might ever want to do..
Along with a delay and distortion pedals..
You hear plenty stories about the guy who went looking for "That Amp" and the guitar center didn't have what he went looking for..
BUT..
he came home with
an amp that he was told that it could sound just like the amp he wanted but they didn't have..
You guys know..
If you want a Marshall amp sound you don't come home with a Fender Amp..
Yet, there ain't any other amp out there that sounds like a Messa Boogie Amp..
whatever that model is..
That amp kit ain't cheep..
It's probably not the only amp that a good studio should have, either..
At the same time I never heard of a studio that only used U-87 mics..
It would be sure nice to have one of them..
Put it in front of that Champ Amp Kit..
Bill..
Motown at one time got rid of all of their mics and replaced them with all Neumann KM 86 mics, according to one of the Motown engineers (think I read that in a tapeop interview).
I want a KM 86 Mic Toooo… and a pair of KM-84’s… and and… Gimmie… Want… Must
Have…
Bill…
Quote: (woxnerw @ Jan. 08 2011, 4:02 AM)
This amp, I believe is all that is necessary in a studio, along with the right mic to make all the guitar tracks that you might ever want to do..
Along with a delay and distortion pedals..
Sorry, Bill, but I have to disagree on that one.
I had one of THESE but I had to let it go. There's a bunch of things it can not do.
That said, what it does, it does REAL good. The creamy mids when you crank it - ahhhh...
I ended up with a 65 Amps Soho 1x12 combo instead and never looked back.
Quote: (teryeah @ Jan. 08 2011, 5:02 PM)
Quote: (woxnerw @ Jan. 08 2011, 4:02 AM)
This amp, I believe is all that is necessary in a studio, along with the right mic to make all the guitar tracks that you might ever want to do..
Along with a delay and distortion pedals..
Sorry, Bill, but I have to disagree on that one.
I had one of THESE but I had to let it go. There's a bunch of things it can not do.
That said, what it does, it does REAL good. The creamy mids when you crank it - ahhhh...
I ended up with a 65 Amps Soho 1x12 combo instead and never looked back.
Oh, my.