TeeJay410

One of the best things about Izzy, and the production on AFD, is that the two rhythm guitars were not playing the exact same thing. There is such a tendency to record both rhythm tracks for each ear the exact same. This keeps the track nice and tight, which suits a lot of people. But so much of the looseness and vibe of AFD that you get is that Slash and Izzy are playing differently in each ear. Takes a good producer and a good rhythm player to do this without it sounding like a sloppy mess. Izzy was just excellent in the pocket and in complimenting Slash. It helps that he had such a hand in writing tracks. It isn't impossible to overcome, but the rhythm guitarist can often be relegated to the singer or lead guitarist saying "I wrote this, you play this." I am not saying that is an invalid approach to songwriting, because it is probably the main mode of songwriting for most bands, but it is a piece of what makes Izzy unique.

Fortus is an excellent technical guitar player. He has a nice style and tone, and a personality that meshes well with Axl Slash and Duff. That is more than enough for what they need in a non-Izzy guitarist.

Did I miss something?

no one here happens to be into black metal, are they?

We are going to get a new Duff album and SMKC album before a new guns album.

Did the soundcheck have vocals?

It's absurd that they played.

It’s weird, because there was a window where there was such goodwill they could have literally put out 7 Slash solo album outtakes with Axl singing on top and 3 CD leftovers and it would have been hailed as a grand return. But like everything with this band, even if quality it’s just past the point where people at large care.

Okay wait so this didn’t work out?

Is this a joke.

“Hello, I would like some more clout, please”

-Hamilton

GnR seems to be their day job, not their passion. And that's fine. It is what it is.

Forgive me if I have missed this but is this still NITL?

I have no problem with any Kobe tribute from anyone at all. 

I would love to eat my words on all of this and I would be happy for any I told you so’s, but we are definitely getting a Slash and the Dad Rocks album before a new guns album. Maybe even another Duff book and coinciding album/tour.

2021 there will be a new Slash and the Dad Rocks album and touring cycle and we will be on here posting how 2022 might be the year because we are all clowns.

There are dozens of ways Axl could look great now, at his weight and age, if he would just listen to someone. 
 

fitted jeans. Plain T shirt, bomber or jean jacket. Dial back the jewelry. Nix the Carmen San Diego hats. 

Any notion of there being a surprise/secret club warm up show, as their tendency seems to be?

3 hours ago, GnR Chris said:

I'm not a musical expert. But isn't pitch correction completely different from autotune?

Did Axl use autotune on CD or was it pitch correction? If you listen to the isolated Rock Band songs, you can really hear autotune in Sebastian Bach's "Sorry" vocals.

You're correct but in general parlance people think it's interchangeable. Autotune generally applies correction to an entire track. This can be used subtlely to sharpen up some odd notes, or it can be cranked all the way up and that's how you can the T-Pain and Lil Wayne effect. Pitch Correction is more applied on an individual note basis, where you can adjust each syllable to put it in key or close. So the easy way to thing is that Autotune affects the entire vocal track, and pitch correction is used to fine tune pieces of the vocal track.

3 hours ago, Towelie said:

How can you tell if a voice has been autotuned? Sorry for the dumb question, but I've never understood how people can tell this sort of stuff.

Really you can just assume everything around the late 90’s onward is auto tuned. There are a select few who don’t, but in general it’s just as much a fact of modern production as compression. I’ll also break some hearts and say that most drumming you hear recorded post that time may be recorded live, but have tempo digitally quantized and most of the hits a reproduced and programmed on top of the live track. 
 

one of the best ways to tell though is compare it to something you know isn’t pitch corrected, preferably a modern produced one, and compare. Despite your feelings about him, Morrissey is one who to my ear rarely if ever uses pitch correction and there are moments you can hear it in his later work, particularly the Tony Visconti produces album “Ringleader of the Tormentors.” Doesn’t mean there aren’t techniques to keep it in pitch or mask grace notes, you can double the vocal, wash it in chorus and reverb, but still. 
 

personally I don’t really care, the recording is how the artist wants to represent themselves. There are plenty of artists who are incredible vocalists who use this technology to make production easier, cheaper, and faster. I think I said earlier, the anti pitch correction war was lost long ago. All these new tricks and technology make music sound incredible these days. I love a nasty sounding hardcore record or black metal album as much as anyone, but there’s no shame in enjoying what’s out there now.

We’ve all lost the auto pitch correction war long ago so you know, behave accordingly. And in general with someone like Ozzie, it is borderline necessary. From what I read the production time in this was short on purpose, so to get pitch perfect Oz vocals would take forever just comping takes. Oz gets to focus on performance and emoting, tweak the pitch later. Fwiw, C.D. is every bit as pitch corrected, which I suspect contributed to that weird vocal blip in Scraped. 
 

however, despite that this album sounds way more raw than his recent stuff. Not 18 layers of chorus and delay and reverb on his vocal or the drums. I’m actually quite enjoying what has been released so far more than pretty much any Ozzie output since No More Tears (I did like the late Sabbath album, though). Slash was phoning it in, but Slash phoning it in is better than most.