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From my experience Motortrades is too small a community to operate on classic trading mode – for instance upload/download quota. Too keep alive you need a regular influx of new members or at least a large number of permanent seeders and leechers. That can hardly achieved by a trading forum dedicated to one band only. Once you've grabbed everything you can get (sorry, but people are motorgreedy
), the thing is dead. And when a community dies or is only rarely visited, administrators lose interest. This is usually the end. Insofar Motortrades has valiantly fought against that trend for a long time, but I think it is long overdue to revert to DIME, like it or not.
3:21. Insane. But still: https://www.youtube.com/watch?v=AwfUfTmOHvA
Or rather tonight…
@ The Conscience: … and the "great reset" happens on the playlist – between every second or third concert. The world is better with Motorpsycho!
@ supernaut: Berlin was great without N.O.X., Cologne extraordinary though N.O.X. better played (or recorded) in Hamburg, especially in Amsterdam (hindsight). Best version the 2021 Gent desertfest trio version imho. Still an overwhelming experience at the right place in a MP set. I'm sure they will come back to the suite now and again, but probably not regularly.
Surprise adds a special quality to life (as a psychonaut)
Ian Gillan anecdote (from gillan.com):
Quote:Black Sabbath and Motorhead were doing an open air show in Dublin. I watched the Motorhead show from start to finish, as usual, it felt as if I'd strapped a Boeing 747 to each ear.Later in the dressing room the guitar player said to Lemmy "Here, we never done our new single".
Lemmy turns and says "I done it second".
Philthy says "I done it fifth".
I had similar experiences with earlier MP concert recordings. The problem is there can be various causes for distortion. One – and the most obvious – is exceeding the recording level limit (shown by display while recording or playing back). With digital recordings this usually generates so-called "clipping" effects, that might be eradicated with the help of an editing tool.
The other cause for (this time serious) distortion is the sheer sound pressure at concerts (especially near Bent's bass amp) that can overstress the used (internal or external) microphones or the capacities of the recording facility. This will not necessarily lead to exceeding the displayed recording level, but will have severe sound consequences: awful distortion that you will NOT be able to remove with any tool I know. Being frustrated with several of my earlier MP gig recordings I know what I talk of…
Nevertheless the Zoom H4n Pro device mentioned should be able to avoid this. It can be helpful to choose the highest possible bit rate (usually 24, sometimes even 32 bit). A higher bit rate enables the device to record exreme frequencies that might otherwise lead to distortion. It might as well be useful to use external microphones – but as far as I know the Zoom device shoud do. (Probably use automatic level function as well).
In any case – if you are in doubt about the capacities of your recording device, choose a suitable place to record, not too close to the stage to avoid direct instrumental amp or monitor sound. Ideally you should position yourself or your microphones somewhere near (in front or behind) the mixing desk.
(Says the recording "expert" who tried to smuggle a primitive walkman recorder into the Frankfurt Grateful Dead concert in 1990 – what a fool I was then
)
Quote:Am I the only one who thinks that the sound was somewhat disappointing?In Motorpsycho@Gloria terms the sound was brilliant. Usually you get lots of mud in the pit as opposed to excellent sound on the few steps near the mixing desk only. (Remember MP@Gloria 2019?)
@ Spacebandit: I'm completely cool now knowing some recording will reach your hands in the near future. For now I'm still enjoying my memory of the gig very much.
@ Cormorant: For me the first part of the gig was a highlight as well. Many Dead-like tunes & jams.
I do hope somebody recorded this gig. Brilliant! Best gig I attended in a few years. For now I'm completely out-NOXed…
Nope – just the "Ulv Ulv" single vinylwise (orange or blue coloured), apart from the usual back catalogue. Can't remember what kinds of t-shirts there were at Festsaal Kreuzberg…
I'll be around for the glorious MP-gig by 19.00 approx. Sporting my Big Black (no dog) Eye
@ Un.Chien.d.Espace: Hope you don't mean The Notwist with "die scheisse"
. I still like them!See you there…
@Punj,Tomcat & co:
Meer before Cologne gig?
In case I don't recognize you (Been a long time since we rock and rolled)
Im the one looking like a beaten Boxer today (little bicycle accident in Berlin yesterday); probably wearing my Dead 1990 t-shirt.
Btw: looks like night toNOX
Vow! Very much a heavy rock gig last night – Sabbath galore. Hell & Cornucopia, United Debased… Lady May a first surprise, welcomed by the crowd. Some people crowdsurfing to Cornucopia, more during The Wheel. First seven rows shaking heads wheelwise. The occasional slamdance pogo, but not too much trouble, rather fun. Never thought I'd restart headbanging after a 30 years break… Best Wheel I experienced in 22 years – 23 gigs.
Needlepoint a very good support, didn't know them, first track rather fusion stuff, but then Canterbury galore. Excellent, would like to see them in Cologne again, even if this means MP play another rather short gig. Please postpone Nox to Cologne – or play it twice in a row!
Quote:"cartoonishness of 'alternative rock' in its heavier moments"A word from the old (not necessarily wise): When you grew up with other musical stuff, probably 70s heavy rock or early 80s metal, alternative rock was something new to you in the early 90s, something you didn't automatically take to like a fish to water but first noted from the outside, an older musical background. From that perspective a lot of the new "alternative" stuff sounded rather similiar and pretty cartoonish too, especially with the less inspired representants of the genre. That changend the more you got into it, but still the feeling of "cartoonishnes" might prevail.
In fact every musical genre or trend since the early 70s classic rock became more and more self-indulgent, mainstreamed in its own stylistical limitations, more stylish and marketable, more labelable and more labeled, and only the strongest or most influential (or egotistic) representants managed to develop an individual, special sound. Funny that these days "classic rock" has even more so become a marketable lable in that vein.
Probably that development is as old as post-war pop music, but you don't notice when you're born into one of these "waves", only later on. Being as old as Bent (or even a little older, my god…) I can only guess that's what he meant.
Btw: in this respect at only 33 years of existence (haha) Motorpsycho do appear like dinosaurs of the pop age – and still extremely modern, because they have retained (or very cleverly created?) that uniqueness that so many musicians seek in vain these days.
(To end that little lecture in an adequate way I might call it "The problem of the musical box")
Quote:A little statistical fact for those hoping to hear NOX during the tour: so far the band have played it at three of the six gigs. If that continues, there's a 50/50 chance of hearing it at any specific concert. Cosmoctopus Lurker is the only track played at all six shows.If you go to any second gig – or two with a one gig gap in between, like I do, that makes it a N.O.X. probability of 200 % – or zero, if you're unlucky. Motorpsycho remain unforeseeable. Hope I don't fall into that NOX-Ginnungagap. On the other hand: "Into the void we have to travel"…
I'll probably throw in a third gig at the end of the tour to raise my N.O.X. probability and to hopefully get a chance for some pre-album "Ancient Astronauts". Anyone planning to go to Arlon from Cologne?
