Megadeth Rust in Peace Guitars only.

you can deconstruct any mp3 in stems with ripx from hitnmix.. it works exceptionnaly well on anything with guitars in it..

it saves the output of its analysis as mp3 files named bass, drums, vocals, "others".. mute "other" and you get the best backing track ever

its as good any any leaked mastertracks
 
I have not had time to listen to this yet as I was gone all weekend so

I'm marking it now and bumping for any other lazy two time poster that never goes past the front page :LOL:
 
peterc52 said:
Good ol’ trash tones. Dave’s guitar looks like mine

View attachment 145969
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Nice share man! I bought a 1st run Jackson King V Pro (Japanese made in the Charvel Factory) back around 1995 from a pawn shop. Such a killer axe.

I used to wonder why it had a Bill Lawrence in the neck. Then I caught an interview where Dave said he used the steel blades on the pickup as an extra fret. There's a reason why he's a legend folks!
 
I've been listening and jamming alongside this all week. I can't believe how insanely tight they are with their playing. Feels good to dust off some of these old riffs, even if I can't keep up with some of it.
 
The tech for them on youthanasia sold me Marty’s slo from angry again. He said rust was a 1986 jcm 800 combined with the Bogner triple giant. He also said the secret was thinner strings on the EAD strings
 
itsgoodnow said:
The tech for them on youthanasia sold me Marty’s slo from angry again. He said rust was a 1986 jcm 800 combined with the Bogner triple giant. He also said the secret was thinner strings on the EAD strings
Click to expand...


Accurate . The triple giant is the forgotten preamp on that record for sure.
 
Kapo_Polenton said:
That's not the tape doing that, that's the analog board. It glues mixes together.
Click to expand...

This guy does:
ssl-xlogic-g-bus-631x154.jpg

And this coming from someone who has mixed on digital and analog boards, and still has no computer in his studio. ;-)
I specifically bought an SSL bus comp (a Radioman clone, mind you... I do have an original Urei 1178 tho' :cool: ) for that cohesiveness and 'glue'.
That thing instantly can elevate a decent, if somewhat 'demo' sounding mix to something that sounds more radio-ready.
FWIW, my recording medium is an Alesis HD24XR and my current desk is an Allen & Heath GS-R24.

Best of both worlds. Analog signal paths, ADAT interface.
And if I want, I could mix to this guy:
Philips N4520.jpg


For that nay-sayer claiming that tape doesn't add shit, I disagree. And for the sole reason that running quality tape in the red (on a quality deck) adds harmonic compression, that sounds pleasing to most for most music genres other than classical.
Hell, I even tested this myself with recording a low/medium bitrate mp3 (128 or 160kbps) to a mini disc recorder (which adds its own ATRAC compression) and then I hooked the minidisc device up to the Philips RTR and recorded it around +3dB. It came out sounding better than how the mp3 started!
So dismissing tape altogether, just because you don't use it is as narrow-minded as dismissing others for shit they haven't used themselves.
I started recording on multi track tapedecks in the mid 90's, when sure, things sounded like shit. And then moved on to digital all-in-one machines with instant gratification. My biggest 'secret': I was never recording super hot on digital. Around -12dBFS to -10dBFS per track. So, after summing, I still had plenty headroom and things sounded good and open; not congested, busy, distorted, like so many falling for the loudness wars-trap.
And now I use a hybrid-setup. As I acquired a simple RME Digiface USB recently, I do expect to someday connect the desk with 4 ADAT lines directly to a PC, do the tracking ITB (maybe with a few plug-ins) and then still use my analog outboard gear as well.

Kapo_Polenton said:
Tape may add to the smoothness but the heavy lifting has already been done by the board. But to be fair, there is a reason a lot of digital guys use these tape plugins and that usually is because they aren't going through an analog console. I saw recently that Malmsteen does this for example. But they do add a noticeable effect.
Click to expand...
Agreed.
 
Speeddemon said:
This guy does:
ssl-xlogic-g-bus-631x154.jpg

And this coming from someone who has mixed on digital and analog boards, and still has no computer in his studio. ;-)
I specifically bought an SSL bus comp (a Radioman clone, mind you... I do have an original Urei 1178 tho' :cool: ) for that cohesiveness and 'glue'.
That thing instantly can elevate a decent, if somewhat 'demo' sounding mix to something that sounds more radio-ready.
FWIW, my recording medium is an Alesis HD24XR and my current desk is an Allen & Heath GS-R24.

Best of both worlds. Analog signal paths, ADAT interface.
And if I want, I could mix to this guy:
View attachment 146710

For that nay-sayer claiming that tape doesn't add shit, I disagree. And for the sole reason that running quality tape in the red (on a quality deck) adds harmonic compression, that sounds pleasing to most for most music genres other than classical.
Hell, I even tested this myself with recording a low/medium bitrate mp3 (128 or 160kbps) to a mini disc recorder (which adds its own ATRAC compression) and then I hooked the minidisc device up to the Philips RTR and recorded it around +3dB. It came out sounding better than how the mp3 started!
So dismissing tape altogether, just because you don't use it is as narrow-minded as dismissing others for shit they haven't used themselves.
I started recording on multi track tapedecks in the mid 90's, when sure, things sounded like shit. And then moved on to digital all-in-one machines with instant gratification. My biggest 'secret': I was never recording super hot on digital. Around -12dBFS to -10dBFS per track. So, after summing, I still had plenty headroom and things sounded good and open; not congested, busy, distorted, like so many falling for the loudness wars-trap.
And now I use a hybrid-setup. As I acquired a simple RME Digiface USB recently, I do expect to someday connect the desk with 4 ADAT lines directly to a PC, do the tracking ITB (maybe with a few plug-ins) and then still use my analog outboard gear as well.


Agreed.
Click to expand...



You have a serious reading comprehension problem. I never said tape doesn’t add shit, and I never said anything about me using or not using it. I said it’s massively overrated and overblown as a reason why records sounded so amazing. you are of course free to have your opinion, just try and read what people are saying next time.
 
'A serious reading comprehension problem'... Wow, do you always have to be such a internet tough guy gung-ho figure who can only express himself in condescending hyperboles? (yes, I've read the whole effin' Larry thread... ;-) )
You could've just said "I'm sorry, but you're putting words in my mouth, I never said that", or something else that doesn't try to be degrading sounding about someone's intellect and/or capabilities.

Besides, the same applies to you, sparky. :sneaky: I never said YOU never use tape, I was speaking in general about how people quickly dismiss things, because it fits their narrative since/when they don't use it. The whole "I don't have an SSL...well, they're not that great anyway. Way overrated", when the actual reason is one can't afford it/fit it in the studio/doesn't know how to operate it, etc. Maybe not everything is about you, y'know? :whistle:

I also have my reasons not to use 1" or 2" tape in my studio:
-ease of use (I actually have done tape edits in the past with splicing...not the most fun job in a studio)
-cost. You can't charge a band $30/40/50/h if the recording medium itself will cost ya $200+ for maybe 20 minutes.
-machine maintenance
-wear of the medium

So, for outboard recording gear with actual decent I/O, the almost archaic Alesis still fits the bill. I found out that one of those Cymatic 1U 24track USB recorders, don't fully allow overdubs with individual channel outputs still playing, only a stereo submix. So that was a no-go. Those are more suited for live multitracking I guess...

Anyway, back on topic, I love the tight tones from RIP and the more thick and mellow lead tones from Friedman. My favorite Megadeth album for sure.
 
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Speeddemon said:
'A serious reading comprehension problem'... Wow, do you always have to be such a internet tough guy gung-ho figure who can only express himself in condescending hyperboles? (yes, I've read the whole effin' Larry thread... ;-) )
You could've just said "I'm sorry, but you're putting words in my mouth, I never said that", or something else that doesn't try to be degrading sounding about someone's intellect and/or capabilities.

Besides, the same applies to you, sparky. :sneaky: I never said YOU never use tape, I was speaking in general about how people quickly dismiss things, because it fits their narrative since/when they don't use it. The whole "I don't have an SSL...well, they're not that great anyway. Way overrated", when the actual reason is one can't afford it/fit it in the studio/doesn't know how to operate it, etc. Maybe not everything is about you, y'know? :whistle:

I also have my reasons not to use 1" or 2" tape in my studio:
-ease of use (I actually have done tape edits in the past with splicing...not the most fun job in a studio)
-cost. You can't charge a band $30/40/50/h if the recording medium itself will cost ya $200+ for maybe 20 minutes.
-machine maintenance
-wear of the medium

So, for outboard recording gear with actual decent I/O, the almost archaic Alesis still fits the bill. I found out that one of those Cymatic 1U 24track USB recorders, don't fully allow overdubs with individual channel outputs still playing, only a stereo submix. So that was a no-go. Those are more suited for live multitracking I guess...

Anyway, back on topic, I love the tight tones from RIP and the more thick and mellow lead tones from Friedman. My favorite Megadeth album for sure.
Click to expand...



Tape is overrated.
 
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