|   Advice on warm sweet midrange tube amp.. | jshk
Nov 6, 2002 2:47 AM | | Hello ,
I need advice on a warm& sweet (real vocal sound) Tub amp$1000-3000 ;
I have in mind Conard Johnson M60 ;VTL ST150; Sonic frontier SE2;Quick silver 100monoBlck.But which one ??
That will be for my Quad 988speaker which I still feel have a thin /bright (vocal mid range )sound & the bass is loose ,for any piano music I cannot identify the bass note region separately ,while I have no problem with my convention speaker driver by the same solid state McIntouch amp .Thanks in advance(by the way I try to move the speaker around but in vein about that loose & soft bloomy bass . Thanks in advance js |
| re: Advice on warm sweet midrange tube amp.. | Davey
Dec 18, 2002 12:36 PM | | <textarea NAME=newresponse rows=10 cols=70 maxlength=100000 wrap=virtual>
15 months in the making, and light years ahead of their post-punk, self-titled debut in 1990, NEON GOLDEN is THE NOTWIST¹s sixth full length album. Outside of their native Germany, it¹s probably only the most musically astute who are aware of this Bavarian four piece, but the past is, in many ways, irrelevant, and offers little explanation as to why City Slang should sign them so far into their career. That explanation is to be found within NEON GOLDEN. Offering a myriad of offset influences and styles that shouldn¹t, on paper at least, add up to the masterpiece that it is, NEON GOLDEN seamlessly blends Markus Acher¹s subtle guitar and plaintive, detached vocals with modern day electronica courtesy of squiggle-rock maestro Martin Grestchmann aka Console. Classically trained trumpeter and bassist Micha Acher provides ultra-fat dub passages alongside lush string and horn arrangements, whilst the whole stew is anchored by Mecki Messerschmidt¹s colourful drum work. The success of the album and if the response to the limited edition 12" Trashing Days is anything to go by, then success is assured is in its extraordinary attention to detail, both musical and lyrical, and its ability to cover so much ground without ever seeming disparate or contrived. NEON GOLDEN opens with the sparse arrangements of One Step Inside Doesn¹t Mean You Understand, delicate textures of cello, clarinet, plucked guitar and the sound of a scratchy LP locked in its end groove. These deceptively simple arrangements are reflected in the acclaimed Trashing Days, with its inspired front porch banjo and minimal electro-pops and crackles, which then flood into technicolour with a woodwind fuelled chorus. Solitaire, too successfully combines off kilter electro beats with the breathy sound of woodwind and strings that seem to have been lifted from the soundtrack of an old movie. NEON GOLDEN takes these inspired arrangements to a logical conclusion in its title track: more sparse banjo and muted horns are accompanied by soft tabla drums, shuffling sandpaper blocks and even a little sitar before buzzy electronica and brass slowly bring the song to a gentle simmer. Equal parts backwoods finger picking, Indian raga and Miles Davis¹ In A Silent Way, it captures the unique and inspired spirit behind the album. But NEON GOLDEN is not an exercise in intellectual musicology, or even in melancholic mood creation. In fact the prevailing mood is upbeat, even if much of the album¹s lyrical content is obsessed with alienation. Forthcoming single Pilot is a stomper from the word go, an insistent 4/4 groove accentuated by Martin¹s buzzes and stuttering electro beats, underpinned by Micha¹s unshakeable bass line and Markus¹ pure pop melody and simple, escalating guitar line. Like prime New Order, the chorus is the song¹s launching pad, and yet it still has time for the kind of dub breakdown that would make Jah Wobble smile. This Room again displays the band¹s love of dub, although the recorded version is somewhat more restrained than the stoner-journey that live performances offer. Once again, though, it¹s the juxtaposition of the electronic with the organic that is so startling earthy but gargantuan stop / start rhythms and gentle, placid guitars colliding with more of Martin¹s bleeps, bloops, and studio trickery. If Neon Golden captures most successfully the intimate and inspired arrangements at the heart of THE NOTWIST¹s songs, then One With The Freaks highlights their continued ability to fill a room with sound that is innovative and yet immediately accessible. Following Solitaire like a slow sunrise after a lonely, endless night, its gentle introduction, and insistent "have you ever been all messed up" vocal line gives way to an explosive drum track and a sunshine filled guitar pop. It¹s the fact that they can fill three minutes with pop this joyful and inspired, and yet address issues of alienati |
| TEST | Davey
Dec 18, 2002 12:43 PM | | <textarea NAME=newresponse rows=0 cols=0 maxlength=100000 wrap=virtual></textarea>
15 months in the making, and light years ahead of their post-punk, self-titled debut in 1990, NEON GOLDEN is THE NOTWIST's sixth full length album. Outside of their native Germany, it's probably only the most musically astute who are aware of this Bavarian four piece, but the past is, in many ways, irrelevant, and offers little explanation as to why City Slang should sign them so far into their career. That explanation is to be found within NEON GOLDEN. Offering a myriad of offset influences and styles that shouldn't, on paper at least, add up to the masterpiece that it is, NEON GOLDEN seamlessly blends Markus Acher's subtle guitar and plaintive, detached vocals with modern day electronica courtesy of squiggle-rock maestro Martin Grestchmann aka Console. Classically trained trumpeter and bassist Micha Acher provides ultra-fat dub passages alongside lush string and horn arrangements, whilst the whole stew is anchored by Mecki Messerschmidt's colourful drum work. The success of the album and if the response to the limited edition 12" Trashing Days is anything to go by, then success is assured is in its extraordinary attention to detail, both musical and lyrical, and its ability to cover so much ground without ever seeming disparate or contrived. NEON GOLDEN opens with the sparse arrangements of One Step Inside Doesn't Mean You Understand, delicate textures of cello, clarinet, plucked guitar and the sound of a scratchy LP locked in its end groove. These deceptively simple arrangements are reflected in the acclaimed Trashing Days, with its inspired front porch banjo and minimal electro-pops and crackles, which then flood into technicolour with a woodwind fuelled chorus. Solitaire, too successfully combines off kilter electro beats with the breathy sound of woodwind and strings that seem to have been lifted from the soundtrack of an old movie. NEON GOLDEN takes these inspired arrangements to a logical conclusion in its title track: more sparse banjo and muted horns are accompanied by soft tabla drums, shuffling sandpaper blocks and even a little sitar before buzzy electronica and brass slowly bring the song to a gentle simmer. Equal parts backwoods finger picking, Indian raga and Miles Davis' In A Silent Way, it captures the unique and inspired spirit behind the album. But NEON GOLDEN is not an exercise in intellectual musicology, or even in melancholic mood creation. In fact the prevailing mood is upbeat, even if much of the album's lyrical content is obsessed with alienation. Forthcoming single Pilot is a stomper from the word go, an insistent 4/4 groove accentuated by Martin's buzzes and stuttering electro beats, underpinned by Micha's unshakeable bass line and Markus' pure pop melody and simple, escalating guitar line. Like prime New Order, the chorus is the song¹s launching pad, and yet it still has time for the kind of dub breakdown that would make Jah Wobble smile. This Room again displays the band's love of dub, although the recorded version is somewhat more restrained than the stoner-journey that live performances offer. Once again, though, it¹s the juxtaposition of the electronic with the organic that is so startling earthy but gargantuan stop / start rhythms and gentle, placid guitars colliding with more of Martin's bleeps, bloops, and studio trickery. If Neon Golden captures most successfully the intimate and inspired arrangements at the heart of THE NOTWIST's songs, then One With The Freaks highlights their continued ability to fill a room with sound that is innovative and yet immediately accessible. Following Solitaire like a slow sunrise after a lonely, endless night, its gentle introduction, and insistent "have you ever been all messed up" vocal line gives way to an explosive drum track and a sunshine filled guitar pop. It's the fact that they can fill three minutes with pop this joyful and inspired, and yet address issues |
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