Could he still have done it if the jazzmaster never existed?

a good litmus test for plebbery is whether or not someone thinks loveless is just a ton of guitar tracks and pedals or knows it's just a few

it's a few pedals but i feel it's key which ones and the order they're linked up in. also probably a couple amps daisychained.
economy of electronics.

Isn't it like two guitar tracks at best a song? There's a shitload of vocal tracks but very few guitar tracks. The vocals get like that because of what essentially happens in orchestras with violins - the strings sound so massive because you have 20 of them playing at the same time.

also recording techniques, i think to here knows when had two amps facing each other or something like that
the most important thing is how he played and how he tuned and used chords, he could have gotten good results from a strat if that's what he had to work with because he's an artist first

Hell, he probably could have gotten a better result out of a Strat. Also, the fact he was autistic about tuning is amazing.

They had one giant mixing desk for the music and another giant mixing desk just for Bilinda's vocals and he used some sort of digital merging so that the vocals wouldn't undergo analog summing with the other desk but literally cut into the rest of the music.

They also used reverse Yamaha SPX-90 reverb and tape varispeed on everything. It was way more autistic than plebalboard chains. "Only Shallow" wasn't just the whammy bar, it was every track being pitched slightly up and down with varispeed control on a tape machine and bounced down again.

There's a tape op mag interview about it where he explains he kicked out all the engineers because they weren't autistic enough and thought he was overthinking it

The misconception of it being more guitars than it actually is is due to the tuning on a lot of songs

that's fucking genius
wasnt there a 33 1/3 on this record? i should try to find a pdf if so, are there any insights into the production in it or is it the usual narrative and history of hype?

ah fuck there is one on scribd but my 30 days ran out a while ago : L

There’s a site where you can download most of them
google.co.uk/amp/s/cultureinjection.wordpress.com/2017/02/20/78-ebooks-da-serie-33-13-para-download-em-ingles-formato-epub/amp/

u came thru...

Attached: chihuahuasmall.jpg (512x365, 30K)

Last time I checked tape op subscription was free but I think they changed it to free trial for a month then paid. It's worth it.

If you listen to Loveless you can hear the whole thing speeding up and slowing down which is definitely master buss varispeed like: youtube.com/watch?v=dYFX6EROkGk

I don't know if he was slowing down the entire track or if Bilinda's vocals were unaffected and everything else was ducking down a fraction of a semitone in 8th/quarter notes. I think the weird feeling is because the instruments are drifting around a non-varisped layer of a trillion vocals and they used a computer to merge them. Also half the drums were coming from a computer, not even a midi sequencer to hardware sampler, just old school computer audio programmed to sound real. IIRC there wasn't much layering of the guitars, I think he might have even said it was just a single mono track to a stereo reverb. Or just two panned L-R. The heaviness of the sound was to do with some kind of cheap compressor he was obsessed with, I think it had a ducking function and he put that on the reversed SPX-90 and it creates a 'hypnic jerk' feel and coupled with the varispeed ducking (basically a whammy bar on the tape machine) it messes with your brain.

He could also hear/figure out a bunch of quirks in studio gear that top engineers couldn't because they set out to make hit records not perfect some kind of hypnic jerk psychoacoustic effect.

I'm listening now and recalling the shields interview and I'm fairly certain it's the technique he mentioned about not summing the vocals with the rest of the tracks but superimposing them digitally and setting the level so it was just barely audible.

It was something to do with the vocals not being homogenized with the rest of the music but layered a thousand times and turned down, like the vocal buss was layered in 1989 protools or some shit.

I'm sure there was stuff he left out because you can hear a sampler playing a portamento looped sample of what I'm assuming is Bilinda's voice.

this shit is crazy.
everything makes sense.
top engineers SHOULD set out to perfect hypnic jerk effects

sometimes i accidentally stumble across some crazy chord that sounds like something he did, but it's always a fleeting thing involving my thumb that i'm too dumb to use practically. it's really annoying when people attribute that sound to pedals when he had a whole language

Mustang existed during the 80s, in fact Bilinda mainly used one. I think he wouldve just used that, or some other cheap Fender offset with a loose floating trem/some other obscure Ibanez or Charvel guitar/a JAMC esque semi-hollow body japanese guitar

Have you tried glide strumming with a Bigsby? Those things are so cumbersome/tightly screwed in that it couldn't sound the same. Kevin would practically bend the entire neck in and out-of-tune effortlessly, which added to the sound in a huge way

this
it's mostly just amp distortion on the record
the pedal meme started because he has to use a shit ton of pedals during shows to get close to the studio sound

That record has so many goddamn effects that you could have achieved the same sound with virtually any harmonic instrument, for all intents and purposes he's playing a synth with a guitar as the exciter.

kevin is documented here:

youtube.com/watch?v=qd1Xmr2YY7c

wrong

Cringe, the dynamic properties within the guitar itself is integral to their sound. They place a huge emphasis on the texture of electric/acoustic strings, hard strumming chords vs. Softly brushing the strings, "jangly" textures that only come about from an ELECTRIC GUITAR

make sure to play chords that involve multiple strings playing the same note
when you bend those kinds of chords with the tremolo arm you get close to the 'wavy' effect
soon, I only said, sometimes, to here knows when and probably most of the other songs use this technique

Yes it does, many of the sounds are so manipulated that their origin becomes virtually irrelevant.

the two on the left look like slightly less attractive versions of the ones on the right

it has some distortion effects, although mostly the distortion on the record comes from cranking the amps themselves
it has reverse reverb on tracks like loomer, to here knows when, blown a wish, soon
thats basically it
much more of the sound comes from the way kevin tuned and played his guitars, set up mics and amps and very particular mixing and mastering

stop arguing - youre both dumb
could you perfectly mimic it - probably
is it totally a product of the guitar? - obviously, as that's how he did and continues to do it.

watch his damn shill video already

I didn't say anything about recorded effects specifically, it's moreso things done in post.
>They place a huge emphasis on the texture of electric/acoustic strings, hard strumming chords vs. Softly brushing the strings, "jangly" textures that only come about from an ELECTRIC GUITAR
Virtually all of which could be achieve with a variety of exciters.

How can I deprive myself of sleep like MBV during the Isnt Anything sessions? Would it take a day or two of two-hour naps (only) to begin feeling disoriented?

Sometimes I miss sleep because of a school/work schedule and the commutes are blissful

I still think you're based for listening to/discussing mbv