I was moving and all of my stuff was in boxes when you posted this. I dug my SF300 out of a box last night and tested it to be sure. Mine does not do this, it gives a nice even decay and doesn't get gated when the signal level drops. I've had other SF clones that do, buy my SF300 doesn't do it.
I actually kind of dislike the sound of my Ashdown 4x10. It's not bad, but it doesn't sound good either. For all of its faults, I haven't been able to make it sound any worse with abuse. So, I haven't gotten rid of it.
She doesn't have a bad voice at all. Though, a quick run through their tracks makes me think their later producers are throwing distortion on the vocals. I'm kind of in a love/hate relationship with that. I like it sometimes, and sometimes I love it. But I always know it's an effect, and it colors my enjoyment of it. It's my problem, and I need to figure it out and get over it.
Oh my, I knew that I expressed that poorly as soon as I posted it, but was too lazy to edit it. I didn't mean to imply that males were less cheesy. I still think all of Pearl Jam sounds like a beer commercial because of Eddie Vedder. Obviously, a great deal of the record buying public disagrees. So it goes.
Monotone? All over the place? I don't care, but make it something that sounds like you tried, and enjoyed yourself. Kim Gordon certainly fits that bill (and SY is probably my favorite band, and I'm related to Kim, so no argument there
).
One of my favorite performances of hers is Brother James. It just murders me. The version on The Year Punk Broke is it. Plus, she's all kickin' a-dollarsign-dollarsign with a BC Rich or T-bird ('scuse me while I watch it 2-3 times in a row).
But the most exalted potentate of monotone is Mark E. Smith, in my book. That man seemed more expressive when he didn't change pitch. Doesn't even matter if you have any idea what he's saying.
Hehehe, that's a good trick for lyrics you aren't fond of. I'm kind of oblivious when it comes to lyrics for the first 10-20 listens, unless you're just beating me over the head with repetition - and sometimes not even then. Mr. Smith sure knew the value of repetition, but I've still got only the barest idea of what most Fall songs are about.
So, as a result of my obliviousness, I've run into many situations where I might be playing the song for the 20th time, and I realize "Dang, THAT'S WHAT THIS SONG IS ABOUT? That's creepy, and I've been playing this song in front of crowds for awhile." And as a result of that, I kind of treasure songs with lyrics that I'm never going to figure out with a lot of backstory (and the more I think about what that backstory might be, the less I want to know about it). That's the kind of thing I try to shoot for in my own lyrics these days. I still think the undisputed heavyweight champion of that (and probably unique vocal delivery, too) is probably David Yow, but I'm probably biased by being a Texan of a certain age.
