8TRACKS RADIO IM LYING ON THE MOON BLUETOOTH

The thing is, when I put on a CD, I know I’ve got 45 minutes to an hour to deal with it before it recycles or goes to the next thing. I like Ray Charles’ Modern Sounds in Country and Western Music. What are your favorite go-to records when you put on music? New York is the loudest city in the world.Īnd sometimes even louder than that. I sometimes walk around the city with my noise-cancelers on, without any music playing, just to cut the noise. I call them my “screaming baby protectors.” (both laugh) I’m not a headphones person, but I do have the noise-canceling ones for the airplane. By and large, I’ve been very satisfied with Bose. It sounded horrible, and once you went off the wire and went to the Bluetooth, you couldn’t get 5 seconds out of it.

8TRACKS RADIO IM LYING ON THE MOON BLUETOOTH

I have the second generation of the Bose Bluetooth speakers - the first generation was shit. Most of the time, I sit in my guitar room, and I have my computer open. You’ve talked to him - he was such a nice guy, right? Rest in peace, Tom. It was the amp he carried around to Criteria Studios or here in New York. It’s the same one he used to mix Layla, Otis Blue, and every Allman Brothers record he worked on. I use that, or I have a small system that’s powered by Tom Dowd’s personal McIntosh MC240 tube amp, which I bought from his daughter. It’s stereo, which is cool, but you’ve got to get the balance just right you have to lean it more toward the left. At home, I mainly use an old tube travel Magnavox Micromatic record player. For someone who plays loud music for a living, I don’t like loud music in any capacity. You want to know a really wacky fact about me? Freud would have a field day with this. “I don’t feel that better fidelity means better sound.” That’s one of my favorite things - listening to music where you can really hear everyone playing together in the same room, at whatever volume. Even on a CD, the band sounds like it’s in the room. I really love that early solid state - McIntosh 2205, 100 watts a side. So I think 96 is the magic number for ProTools in our world.Īs far as home stereo listening goes, I’m analog all the way. The original ProTools sounded harsh and terrible - those old Mitsubishi reel-to-reels were 16-bit or 24-bit, and they sounded like shit. Those frequencies weren’t replicated by instruments, you know what I mean? When ProTools went to 96, then ProTools was real. Maybe it does on paper.Ĭertain artists and producers feel the bit rate is more important than the sampling rate, so what do you think about 96kHz? I don’t feel that better fidelity means better sound - at least to the listening ear. You might get above 3 to 5 K - and that’s midrange, where it feels very organic to me. If you put on a vinyl record, through an analog Pioneer player and a couple of Bose 901s, the frequency band doesn’t get below 250 Hz. We’re dealing in frequencies that birds and whales communicate in. So it’s a “feel” thing for you, to some degree. The more the bit rate goes up, and the more the resolution and fidelity goes up, the more the human ear “hears,” and the less it impacts the soul. In my world, for guitar, the early digital delays, reverbs, and effects - like the TC 2290 - were all 16-bit, and there’s a real beauty to that. I think that was the most organic version of 1s and 0s. No need to worry about that - smokin’ Joe B is here to stay.ĭigital Trends: Let’s get right to it. “I always say the downfall of my career would be if I had a radio hit,” he jokes. In addition to the seriously smoking guitar solos on gutbucket cuts like “Love Ain’t a Love Song” and “Get Back My Tomorrow,” Bonamassa bobs and weaves with a tight horn section on “Living on the Moon” and “Trouble Town,” and interlaces beautifully with a churchified organ and uplifting string section on the album’s touching closer, “So, What Would I Do.”īonamassa, 37, sat down with Digital Trends in New York recently to discuss his digital production philosophy, his favorite gear, honesty in the studio, and the lost art of sequencing. “I think that was the most organic version of 1s and 0s.”īonamassa’s latest album, Different Shades of Blue, out now on his own custom J&R Adventures label, debuted at number eight on the main Billboard albums chart, and it shows the widening of his aural palate. King, then he came under the tutelage of the late blues/jazz impresario Danny Gatton as a teenager, won scores of Best Guitarist accolades all along the way, and has since stood toe to toe with the likes of Eric Clapton and Aerosmith's Brad Whitford, and formed the Black Country Communion superquartet with onetime Deep Purple bassist Glenn Hughes, drum legacy/phenom Jason Bonham, and keyboard whiz Derek Sherinian. Īt the ripe young age of 12, he opened for B.B. The blues had a baby, and they named him Joe Bonamassa.

8tracks radio im lying on the moon