Suhr Standard Pro Trans Honey Amber HSS
Suhr Standard Pro Trans Honey Amber HSS
Back in 2007 I had written a post about the number of years that I had been a fan of my favourite bands. 2007 is such a long time ago now and it’s time to see how may years have I been a fan of the artists that I enjoy listening to so much. My list of songs & albums and decided that it deserved a post. So here it is, in descending order, the bands that I have been a fan of (I’m not including bands that have disbanded but artists who have died are included, provided that they have a considerable amount of recorded material) :
Band / Artist No. of Years Year which I first heard them
These are the longest that I can think of. There are other bands that I like, but I either own just a few songs (like Ozzy, Judas Priest) and or never bought any of their albums (Led Zepplin).
Mostly the same bands and artists that I usually listen to. The classics are always great. Most bands that I currently listen to I have been listening to for a long, long time. Bands from the 70s, 80s & 90s and a few from the 2000s. There are a few artists that I listen to a bit more now than previously. Like Slayer – I barely listened to them for so long but recently, since the past 2 years, I have been playing them on Youtube a lot more.
One band that I have started listening to are Greek Black Metal band formed in 1987 and their first album came out in 1991 but I only started listening to them last year and they blow me away. I have also been watching/listening to some cover bands, The Classic Rock Show and the Lexington Lab Band, that are a class above (meaning about as good as top class rock bands but these guys only play covers) a lot on Youtube since they do really fine, almost updated, covers of some of my bands songs and bands.
Other than that ofcourse I listen to my fav bands – Rush, Barenaked Ladies, Pearl Jam, Metallica, Iron Maiden, Alice In Chains, Queensryche, Def Leppard, Deep Purple, Dream Theatre, Bryan Adams, Joe Satriani, Steve Vai, etc etc a lot.
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Frankie Banali, who played drums on Quiet Riot’s best-selling albums and kept the band going for nearly four decades, died Thursday at the age of 68. He had been diagnosed with stage IV pancreatic cancer last April. He is best known for his work with multi-platinum heavy metal band Quiet Riot and was the only member remaining from the band’s classic lineup. He had been the band’s manager since 1994. He played drums in the heavy metal band W.A.S.P., as well as with Billy Idol. Banali was briefly a touring drummer for Faster Pussycat and Steppenwolf.
Frankie Banali was born on November 14, 1951, in Queens, New York City, New York, to Italian immigrants, Jack and Martha Banali. In 1975, he moved to Los Angeles, where he spent four years playing drums with various bands, including Steppenwolf with Nick St. Nicholas and Goldy McJohn. In 1979, Banali, along with bassist Dana Strum, was in secret rehearsals with then Quiet Riot guitarist Randy Rhoads and Ozzy Osbourne as the latter was looking for a guitar player to launch a new band. In 1980, he joined forces with Kevin DuBrow and formed DuBrow with a revolving door of musicians, before settling with former Snow guitarist Carlos Cavazo and bassist Chuck Wright.
Banali joined Quiet Riot in 1982, one year before the band released its blockbuster breakthrough album, Metal Health. The singles “Cum On Feel the Noize” and “Metal Health (Bang Your Head)” featured Banali’s hard-hitting drumming, and the group’s mixture of tough heavy-metal riffs and glam-rock sensibilities played well at radio and on the newly launched MTV. By 1989, Quiet Riot disbanded after touring in support of their self-titled album, which was released in October 1988. Around the time of recording their self-titled album, he also played drums for W.A.S.P.’s The Headless Children album. After Quiet Riot disbanded, he rejoined W.A.S.P. to tour in support of the album. In 1990, Banali was called in by Faster Pussycat to replace the fired Mark Michals, during their tour in support of their 1989 album Wake Me When It’s Over.
After his mother’s death in November 1990, Banali regrouped and formed a band called Heavy Bones with guitarist Gary Hoey. They released only one album in 1992, before disbanding. In 1993, Banali rejoined Quiet Riot after Bobby Rondinelli left the band to join Black Sabbath. In 1994, he also took over as the band’s manager, overseeing the band’s business decisions. After three albums and more lineup changes (including the reunion of the classic Metal Health lineup from 1997 onwards), Quiet Riot disbanded in 2003. Banali and DuBrow reformed Quiet Riot in October 2004 with bassist Chuck Wright and new guitarist Alex Grossi. They released one album with the lineup, Rehab in 2006, before the untimely death of DuBrow in November 2007. Banali announced the dissolving of Quiet Riot on January 14, 2008.
In mid-2010, Banali had an online fundraiser via Kickstarter with his then fiance Regina Russell Banali for the seed money for production of a documentary about the band, titled Quiet Riot – Well Now You’re Here There’s No Way Back, a film she both produced and directed. The final amount raised was nearly $24,000, The film premiered at the Newport Beach Film Festival on April 29, 2014. On January 18, 2017 Frankie was inducted into the Hall of Heavy Metal History for his contribution to Heavy Metal drums. In October 2019, Banali whose father also died of cancer, revealed that he was diagnosed with stage-IV pancreatic cancer on April 17. He died from the disease on August 20, 2020, at age 68. This left Banali as the second member of the classic Metal Health-era Quiet Riot lineup to have died, following Kevin DuBrow in October 2007.
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Peter Green, the dexterous blues guitarist who led the first incarnation of Fleetwood Mac in a career shortened by psychedelic drugs and mental illness, has died at 73. A law firm representing his family, Swan Turton, announced the death in a statement Saturday. It said he died “peacefully in his sleep? this weekend. A further statement will be issued in the coming days. Green, to some listeners, was the best of the British blues guitarists of the 1960s.
Green also made a mark as a composer with Albatross, and as a songwriter with Oh Well and Black Magic Woman. He crashed out of the band in 1971. Even so, Mick Fleetwood said in an interview with The Associated Press in 2017 that Green deserves the lion’s share of the credit for the band’s success. Indeed, Green was so fundamental to the band that in its early days it was called Peter Green’s Fleetwood Mac.
Peter Allen Greenbaum was born on 29 October, 1946, in London. The gift of a cheap guitar put the 10-year-old Green on a musical path. He was barely out of his teens when he got his first big break in 1966, replacing Eric Clapton in John Mayall’s Bluesbreakers — initially for just a week in 1965 after Clapton abruptly took off for a Greek holiday. Clapton quit for good soon after and Green was in. In the Bluesbreakers he was reunited with Mick Fleetwood, a former colleague in Peter B’s Looners. Mayall added bass player McVie soon after. The three departed the next year, forming the core of the band initially billed as “Peter Green’s Fleetwood Mac featuring (guitarist) Jeremy Spencer.”
Fleetwood Mac made its debut at the British Blues and Jazz festival in the summer of 1967, which led to a recording contract, then an eponymous first album in February 1968. The album, which included Long Grey Mare and three other songs by Green, stayed on the British charts for 13 months. The band’s early albums were heavy blues-rock affairs marked by Green’s fluid, evocative guitar style and gravelly vocals. Notable singles included Oh Well and the Latin-flavoured Black Magic Woman, later a hit for Carlos Santana. But as the band flourished, Green became increasingly erratic, even paranoid. Drugs played a part in his unraveling. Green Manalishi, Green’s last single for the band, reflected his distress.
Beginning with “Man of the World”‘s melancholy lyric, Green’s bandmates began to notice changes in his state of mind. He was taking large doses of LSD, grew a beard and began to wear robes and a crucifix. Mick Fleetwood recalls Green becoming concerned about accumulating wealth: “I had conversations with Peter Green around that time and he was obsessive about us not making money, wanting us to give it all away. In some of his last appearances with the band, he wore a monk’s robe and a crucifix. Fearing that he had too much money, he tried to persuade other band members to give their earnings to charities. While touring Europe in late March 1970, Green took LSD at a party at a commune in Munich, an incident cited by Fleetwood Mac manager Clifford Davis as the crucial point in his mental decline. Green left Fleetwood Mac for good in 1971.
In his absence, the band’s new line-up, including Christine McVie, Stevie Nicks and Lindsey Buckingham, gained enormous success with a more pop-tinged sound. Green was confined in a mental hospital in 1977 after an incident with his manager. Testimony in court said Green had asked for money and then threatened to shoot out the windows of the manager’s office. Green was released later in the year, and married Jane Samuels, a Canadian, in 1978. They had a daughter, Rosebud, and divorced the following year. Green also has a son, Liam Firlej. In 1979, Green began to re-emerge professionally. With the help of his brother Michael, he was signed to Peter Vernon-Kell’s PVK label, and produced a string of solo albums starting with 1979’s In the Skies. He also made an uncredited appearance on Fleetwood Mac’s double album Tusk, on the song “Brown Eyes”, released the same year.
Green returned to performing in the 1990s with the Peter Green Splinter Group and released 9 solo albums. In 1998, he was inducted into the Rock and Roll Hall of Fame along with other past and present members of Fleetwood Mac.
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Axel Rudi Pell – The Temple Of The King – From The DVD Live Over Europe(2008)
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VST Plugins for String Music Instruments
Miroslav Vitous was one of the first performers to release his Symphonic Orchestra Samples CDs in the year 1993, with this came the advent of followers. People were looking for ways to do the same thing but better, quicker, and professionally. So, the invention of the computer-based Gigastudio was released in early 2000, one thing led to another, and every musician or performer, and recording studio on the planet invested in what has now has become a choice of thousands of different plugins, available on plugin library’s online. Read more about this introduction through this link.
So, it is safe to say that if you are recording or producing your projects or for other people as a business, you’re probably using stringed instruments to add some warmth to your sounds, and with it, also a reliable string VST plugin for your digital audio workstation.
VST or Virtual Studio Technology refers to an interface for mixing effect plugins and software audio synthesizers with hard-disk recording systems and audio editors. These types of technologies typically use digital signal processing to simulate traditional recording studio software and hardware alike. There are tons of different plugins that are available on the market, both free and commercial and as such VST is supported by a variety of audio applications.
The convenience of plugins comes with many advantages, especially when you are composing music or simply doing some mixing. Benefits include:
It’s safe to say that this is possibly the most affordable and convenient VST plugins, which is why anyone can use them – professionals and amateurs alike. Learn more about how this technology works via this online source https://www.techopedia.com/definition/266/virtual-studio-technology-vst
Some plugins control the incoming sounds which can also be cut, manipulated, and employed linearly to suit the demands of your project no matter how complicated. It presents a customized tool to make things sound more professional and clearer to the listener.
There are several different VST Plugins, and some are specifically designed to be used with string instruments to help in creating virtual sounds from the vibrations, for ease of use and tailored compatibility. These include the String VST Plugins, which function similarly to stringed musical instruments such as guitars, cellos, basses, and violins.
Each plugin also has a choice of filters, these help to boost or cut off high-end and low-end frequencies beyond their set limits. So, you can adjust the sound frequencies to as high or low as you desire without changing anything else, resulting in rich sound by using the DAW VST Hub VST plugins.
They imitate the real sound and replicate emulations based on diverse landscapes using tonal variations and multiple controls.
These plugins have a reliable processor and parameters, by allowing different options and functionalities that only musicians can appreciate when used because often during recording sessions, multiple other hardware cannot offer the same possibilities as plugins can. This edition offers more of a variety of sounds and gives one a wider choice of creative extensions to use in their music and for their listeners.
The subject of VSTs has become a popular one amongst enthusiasts because they have become more sophisticated in the 21s century. Not only can they program your playing techniques, but they can also add expression and ensembles to it. These have been used in an array of situations including orchestras. Find out more about the different types here.
Different Types of VST Plugins
As mentioned earlier, there are now thousands of different plugins that anyone can use to sound professional and put all their melodies together in a concise place. In particular two categories which are either Virtual samplers or virtual synthesizers, learn more about this software here https://en.wikipedia.org/wiki/Software_synthesizer
EQ VST plugin: Several different ones are available, depending on the requirements of the user. It has multiple different frequency filters in it too, and these help in cutting out the boost frequencies to make them either higher or lower.
Delay VST Plugins: There is also a choice of effect plugins that help to fade out sounds and audio recordings. Depending on the way the sound is designed, you can use this option to create multiple effects on your recording and to build a foundation.
String VST Plugins: As mentioned above, include samples of strings instrument recreations to provide an array of assorted creative solutions.
Compressor VST Plugins: Can be used to condense distance between the soft and silent sounds to reach audio signals. They help in reducing incoming sounds bounce-back. They enhance the quieter sounds and level them up with the louder sounds so you don’t need to adjust each manually yourself.
Reverb VST Plugins: Help to duplicate or create a copy of existing instruments being played. They take into consideration, ideal delay, echoes, frequency levels, and simulate the natural settings. They help set the mood of the overall output, by adding depth to the overall recordings.
Effect VST Plugins: These fall under the VSTfx plugins which are used in studios to produce different effects in the studio. They are different from strict VST instruments because these adjust and alter incoming sounds as opposed to blocking or retracting them.
Other options for VST plugins include Filter VST plugins, Autotune, Distortion, Mastering, Vocoder, Waves, Virtual Instruments. There is also a different category that includes individual instruments such as Drum, Synthesizer, Bass, Piano, orchestral, and guitar, to name a few. As mentioned, there are thousands, so depending on the kind of sound result you are looking for, these additions will help make things a little more professional, even if you’re starting in your garage.
Little Richard, a founding father of rock and roll whose fervent shrieks, flamboyant garb, and joyful, gender-bending persona embodied the spirit and sound of that new art form, died Saturday. He was 87. The musician’s son, Danny Jones Penniman, confirmed the pioneer’s death to Rolling Stone, adding that the cause of death was cancer.
Starting with “Tutti Frutti” in 1956, Little Richard cut a series of unstoppable hits – “Long Tall Sally” and “Rip It Up” that same year, “Lucille” in 1957, and “Good Golly Miss Molly” in 1958 – driven by his simple, pumping piano, gospel-influenced vocal exclamations and sexually charged (often gibberish) lyrics. Although he never hit the top 10 again after 1958, Little Richard’s influence was massive. The Beatles recorded several of his songs, including “Long Tall Sally,” and Paul McCartney’s singing on those tracks – and the Beatles’ own “I’m Down” – paid tribute to Little Richard’s shredded-throat style. His songs became part of the rock and roll canon, covered over the decades by everyone from the Everly Brothers, the Kinks, and Creedence Clearwater Revival to Elvis Costello and the Scorpions.
Little Richard’s stage persona – his pompadours, androgynous makeup and glass-bead shirts – also set the standard for rock and roll showmanship; Prince, to cite one obvious example, owed a sizable debt to the musician. Born Richard Wayne Penniman on December 5th, 1932, in Macon, Georgia, he was one of 12 children and grew up around uncles who were preachers. “I was born in the slums. My daddy sold whiskey, bootleg whiskey,” he told Rolling Stone in 1970. Although he sang in a nearby church, his father Bud wasn’t supportive of his son’s music and accused him of being gay, resulting in Penniman leaving home at 13 and moving in with a white family in Macon. But music stayed with him: One of his boyhood friends was Otis Redding, and Penniman heard R&B, blues and country while working at a concession stand at the Macon City Auditorium.
After what he interpreted as signs – a plane engine that seemed to be on fire and a dream about the end of the world and his own damnation – Penniman gave up music in 1957 and began attending the Alabama Bible school Oakwood College, where he was eventually ordained a minister. When he finally cut another album, in 1959, the result was a gospel set called God Is Real. His gospel music career floundering, Little Richard returned to secular rock in 1964. Although none of the albums and singles he cut over the next decade for a variety of labels sold well, he was welcomed back by a new generation of rockers. By the 1970s, Little Richard was making a respectable living on the rock oldies circuit but during this time, he also became addicted to marijuana and cocaine while, at the same time, returning to his gospel roots.
In the 1984 biography The Life and Times of Little Richard (written with his cooperation), he denounced homosexuality as “contagious … It’s not something you’re born with.” (Eleven years later, he said in an interview with Penthouse that he had been “gay all my life.”) Later in life, he described himself as “omnisexual,” attracted to both men and women. But during an interview with the Christian-tied Three Angels Broadcasting Group in 2017, he suddenly denounced gay and trans lifestyles. In the 1980s, he appeared in movies like Down and Out in Beverly Hills and in TV shows like Full House and Miami Vice. In 1986, he was one of the 10 original inductees into the Rock and Roll Hall of Fame, and in 1993, he was awarded a Lifetime Achievement Award at the Grammys. In the years before his death, Little Richard, who was by then based in Nashville, still performed periodically.
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If you like to create music, you might be finding that the current situation is quite useful for that. It is a time of creative outpouring for many people, and if your creative thing is music then there are many ways in which you can hope to create music in your home with greater style and control. Of course, there are some practical tips that you might be able to take on board if you want to make sure that you are creating the best music possible in your own home, and that is what we are going to take a look at in this article. Follow these tips, and you should be making better music in no time.
Create A Space For It
It is always best if you have some kind of dedicated space for creating music. If you don’t have that at the moment, however, it is a simple enough thing to make it a reality. If you have a spare room in your home, or even something like a garden shed, then that is going to be perfect. Or if you just want to use a corner of your house, you can do that too and it should still work pretty well. Whatever kind of space you have to use, make sure that you commandeer it and make the most of it.
There are many things to consider in creating a musical space in your home. You obviously want to be able to create music without disruption or interruption, and without interrupting anyone else in the home too, so there are things to think about there. You can these days buy cheap soundproofing materials which you can then easily put up on the walls of a room, and in so doing you will find that you have a much better, soundproofed space in which you can work away. That is important for keeping focused on your music – and not annoying your family or neighbours.
But that’s only one part of it. You should also ensure that it is a big enough space to move around in and to fit all of your instrument and equipment in, and that is something that you really have to be careful about. As long as you have such a space, you should find that it is going to really make a difference after all.
Once you have your space set up, the next thing is to make sure that you can set up within that space in such a way that you can create happily and easily without having to worry about it at all. That is a much better way to feel creative and to get the creative juices flowing whenever you need to.
It can be surprising how many materials you need to make use of when you are creating music in the home. In a way, you will probably find that you are always looking for new materials, and this is certainly part of the process of being a musician generally. Gathering those materials is something you can easily do from home even if you are not able to leave your home for a long period of time, such as during this coronavirus epidemic. It’s all about knowing where to look and being persistent in looking for what you really need.
In all of this, the internet is obviously a hugely valuable resource which you will want to make the best use of you possibly can. On the internet, you can get hold of a range of music software that you can use to create songs, including suites which really are complete in their ability to provide you with what you need to make whatever music you like. You can also find places where you can get hold of samples and so on which you can use, sometimes for free. There are plenty of free beats on youtube which you can make use of, for instance – but do make sure that you have checked the royalty on them before you use them, just in case.
Once you start to look around, you will find that you can get all you need online. It really is a good idea to look there when you are trying to gather materials necessary for creating music.
Practice Your Instruments
If you have an instrument, or even a range of instruments, in your home, then you will of course likely want to make use of these too. You can do that by ensuring that you are practising those instruments as much as possible – something that you probably have a lot of time for at the moment with everything that is going on. Often it is much more enjoyable to play music this way than digitally, and of course you can also record yourself and make use of that recording in your digital suite music creation too. All in all, it’s a good idea to continually practice your instruments, so that you can make sure that you are going to use that skill as much as possible in your music creation.
Get In Touch With Other Musicians
It’s also a good idea to continually be in touch with other musicians in whatever way you can, as this is helpful in feeling inspired and keeping your music going strong. You can do this online easily enough, of course, whether through social media or other means. You might even want to think about setting up a Zoom call and playing some music for someone at some point – in doing so, you are likely going to find that you are improving your skills while also helping yourself to feel encouraged. It can also be a great confidence booster, so that is something that you can be glad for. All in all it is going to help you to feel much more in line with your own desires and abilities, and that is one of the great things music can do for us all.