Music Documentaries

Title should be self explicative.

Found these two gem interviews with Neal Peart. RUSH drummer’s.
In the first one he talk about the Album obviously but. You also discover the the men behind the metronome. A cultivated and articulated men.

In the second. First you learn you were probably mispronouncing his name all that time. He pressent his book about touring on bike. Because the men is also a writer (outside songs) and a biker.

Didn’t found an equivalent thread. So feel free to use it if you feel like it.


The name says it all. The Pixies (and Sonic Youth amongst many others ) paved the way for the 90’s :

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Saw that a while ago. There’s so much behind this masterpiece and it’s creator.
The birth of Virgin Records among other things.

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This is a good one:


Which one is pink… :man_facepalming:

Apparently, the band members got asked that a lot…

Which suggests who they should do a joint concert with - could be interesting!

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A line in Have a cigar from the Wish you were here album.
Another good documentary on it. A few minutes into this one and I really like it so far.
Don’t know how much is real and how much is romanticized and I don’t care. It perfectly fit the music business…

The Money Maker? No? ok! :sweat_smile:

The B3 must be three times older than this “kid”. :wink:
Still, first time I come across something like that about the B3. (Never searched for any. Did for the Mellotron a while ago.)

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They are impressive beasts, for sure. Not exactly the most portable of keyboards, though!


Ugh. I still have nightmares about lugging around a Hammond B2 and Leslie speaker. It couldn’t be moved by anything less than four guys.

I also at the time used an Ampeg SVT bass amp with an 810 (8 x 10” speakers) cabinet that was so heavy it had wheels and a grab handle on the back.

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Trying to remember what make it was, but a friend in uni have an old electric piano. Beautiful sound, but it had actual weighted keys etc. and it weighed a ton. Wasn’t even a full 88 notes, either! (That would have been a 1970s keyboard in all probability - I met the guy around 1984 or 1985, he’d had it a while, and he’d bought it used.)

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It could have been a Wurlitzer but the classic was the Fender Rhodes. That’s what pretty much everyone used in the 70’s. Our keyboard player had one of those too - I forgot (or rather I blocked it out). So much gear in those days. Now it’s a microphone and an iPad.

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Another thing that kept popping on my suggestions and kept delaying for no obvious reasons.
Worth the 10 mins. We miss you big man with the high pitch voice.

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Poor Noel Redding - never got the respect he felt he was due :sweat_smile:

Also Sound City - Dave Grohl’s doc which is part making of Nevermind, part history of the studio in which it was recorded - is very interesting.

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Man I can’t wait for this one to come out!

I think it’s connected to SXSW. I remember reading my brother’s back issues in the early 80’s. It was a pretty hilarious mag.

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That’s neat that he started out with an Ampeg Baby Bass. Those things are extremely cool and tend not to be used outside of salsa and Cuban.

Funny to hear him talk about bass and mid range frequencies in recording and live. A lot of bass players don’t realize that the low frequencies (60Hz - 80Hz) are actually really bad : they not only get lost but just add mud to the total sound. I would usually concentrate the bass around 120Hz. That’s the tone that punches through the drums and guitar.

What’s funny is that Tony Levin is notorious for his “smiley face” EQ setting (no mids), which the Music Man bass excels at.

And I haven’t listened to King Crimson in ages, but I see where Les Claypool got his style :


I knew you’d like it. :wink:
Funny i was just listening to Peter Gabriel signing. Only just a tad older. A 1973 Genesis show. :open_mouth:

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Well, like most things, it depends…

The problem with the very low end, at least historically, is that it simply wasn’t reproduced (or reproduced extremely weakly) by sound systems. That’s changed with the advent of VLF drivers and cabinets, but something to remember (especially if using genuine vintage gear).

The other thing is that a “muddy” mix often comes down to having multiple instruments playing in the same range. Piano and keyboard players IME are the worst for that, since they tend to practice solo and they love a full sound. I love playing bass with a jazz-trained pianist, since they are more likely to automatically give the bass player room to play in.

Oodles of distortion on guitar is equally bad, since it tends to fill out the audio spectrum. These are things that the recording or live sound engineer should be dealing with that though - there are ways to separate stuff out so that the bass is the bass.

You’re right though - if the stage mix is loud and has everything in it, boosting a bass guitar’s mids is the way to go. Well, that and tying the keyboard/piano player’s left hand behind their back!


My first bit of gear (an original all-tube Ampeg SVT) naturally produced a woof-y tone. It had a “ultra-low” switch which moved the bass focal point to around 60Hz. In none of the bands I played in could I make it work (and I played in various jazz, thrash, punk, R&B, blues, etc bands). My final amp was an Ampeg solid state/tube hybrid with Transparence speakers (similar to Eden in sound) and produced very “true” tones.

Definitely true.

Oh lord yes. Especially when they insist that they need a 120W+ amp ; and that the tone doesn’t come alive unless it’s at 7+.