fantastic journey! diggin your explorations, absolutely!
The intensity of these sounds is thrilling.
- essentially it is the Keatsian 'loading every rift with ore'. You know when you have put enough there - anymore and it starts to diminish - you stop at the point of intensity [not consciously, but that's what happens]. As Balke said, 'enough! Or too much'.
As mind bending as ever, Bill, if not more so. I have a woman called Ariadne texting me..should I reply?
Depends if you are Theseus or Dionysos ...
Right in da zone, Al
: As someone said about another my tracks: the twilight zone!
Happy new year Bro the very best wishes for 2017 way cool opener its probing the far reaches of mi brain lol master of sounds, Al
Happy New Year to you too, Al. Yeah, quite pleased with how this one turned out and am totally rad how it blew your tiny - bluesman extraordinaire!
And to you Bro you defo can reach parts of my inner sole that not many people can reach Bro your music is a work of art love the way ya keep testing the boundaries of sound but not only sound but great depth mix and quality too very well done indeed, Al
Good ride, sir.
Almost horn there for a minute.
For me, with jazzy stuff, with a few honourable exceptions, it is the horn players that have it
Yep. Most guitar players, especially early, don't seem to adapt well to "we can do single note stuff too" and are trapped in pre-amplification comping.
Those old Boss things can sure fake some synths right, it's why I keep a couple around myself!
: It's seeing them in your equipment pics that made me get them if I see them going begging. This GT-6 thing is great - trouble is, I've been spending all my time making patches rather than making tracks - still, time to stock up on some new sounds, so it is well spent. Theremin sounds good through the Boss stuff too. I think the GT-6 is excellent for the range of space guitar sounds - I see you have a GT-100 - I guess that's a step up from the GT-6 but based on the same principles. I want make a range of patches which are like a painter's palette, going from the most silvery white to the deepest ochre. Pretty hard work though. Love the synth sounds on there - and the fake sitar guitar!
Yea the GT-6 is two generations removed - there's a GT-10 engine for effects in the GR-55, and the 100 is absolutely stupid insane by comparison. I also have a venerable ME-6B from the 90s that was my primary noisemaker in the day - it has analog filters and synth stuff that I still can't replicate on other devices, along with effects that while tailored to bass, are glorious when dialed in right on guitar. I even have the flagship ME-10 of the 90s, which was blisteringly expensive and amazing then and still gets pulled out now and again.
The making patches is mostly a one-time thing, you get a slate of them, and then can just go "boom, I want sound X". The modern units are a lot faster to update/adjust thanks to realtime knobs and computer editors as well, the GT-001/100 (same unit, I have both, the 100 just has footswitches and its own FX loop) adjusts almost as fast as an actual amp does in practice for me with the software, and does so damn much more!
The vortex here is definitely alive.
The song begins proper, good show and love the filter sweeps.
great passage
: That's the LP again, slicing out chords etc., and then cutting up the sections and overlapping them - in these pieces nearly everything is altered in some way - sped up and slowed down - pitch changed, cut up - dismembered and re-membered {?} - the playing is a very small part of it - it's manipulating the sounds, layering them - deleting some, doubling others etc.
Did you speed up that clean single note fellow digitally, or are you playing that? It all sounds great. I like how you keep the characters on the move.: That's played on Les Paul as aforementioned - that whole section is sped up - I had a lot of compression on the LP so that the notes pop out - I had been listening to Les Paul's album of 1950, called The New Sound. Do you know it? It's seminal - I would put that and Julian Bream's 20th Century Guitar as the two most important guitar albums of the 50s and 60s. Les does lots of sped up stuff, and there's a vibe that you get with that which you can't get even if you could play it double speed anyway. The speeding up compresses the sound even further.
Posted 7 months ago7 months
rfurtkamp at 6:15:
@bill-boethius: Add Tal Farlow's "At Ed Fuerst's" and 50s guitar will not be the same!
Posted 7 months ago7 months
You at 6:15:
@rfurtkamp: Listening to that now - phew! I had been thinking if I had to choose one guitar album per decade ... and by guitar albums I mean just that, where the guitar is utterly central. I put Les Paul's the New Sound for the 50s mainly because of the recording techniques he used. The Bream album 20th Century Guitar for the 60s, and for the 70s, Fred Frith's Guitar Solos [British bias?]. I'm pondering on the 80s and 90s.
Yea, Paul wins for the recording techniques and inventing so much new stuff. I've never been hugely fond of what he produced, but I still have listened religiously to pick up a few things here and there. For the 60s stuff, I honestly don't know who I'd pick, the 70s I'd go into fusion-land with McLaughlin and Sharrock on echoplex for Miles Davis' "Tribute to Jack Johnson", and 80s Sonny wins for me again with his "Guitar" comeback album, and in the 90s with his swan song, "Ask the Ages" (where frankly, he gets my nod not so much as the guitar playing, which is his usual standard, but because of the arrangements and the band, oh, the band!)
Yeah - Sharrock's Guitar album - you turned me on to that one. A more polite guitar album from the 80s is I Advance Masked by Fripp and Summers. I'm strictly keeping to guitar albums, rather than albums which happen to have great guitar on them [so as much as I love the Miles albums you mention, they are slightly outside the criteria (!)], so I'm not sure for the 90s - maybe David Torn's Tripping Over God?
Yea, the problem is that there may not be an album that defines that per decade honestly is the thing as well.
Getting quite vocal here, but not theremin, I'm guessing. Slide somehow processed? Nice, whatever it was. There and gone. Good move.
No theremin on this one - not slide either - it's my favourite Strat - the J&D copy with Wilkinson pick ups [it's in the track photo] - this is the best Strat I've played - feels and sounds great - that's all whammy bar there on the Strat. There's a trick there - the whole passage is pitch shifted up an octave, double tracked with the other track slightly behind and with a mid EQ boost - if a guitar break doesn't sound good after all that then I'll scrap it!
Here's to searching. And Bill, Happy New Year...
Large things moving.
: I'm putting the bass through the Sansamp DI thing which delivers a natural distortion
I love how that jazzy chord gave way to this bottom sludge with things The jazzy guitar sounds are the Epiphone Les Paul set to clean clean clean - the sound that Les himself intended the LP to make. It's a sound you don't hear so often - but I've been listening to Les's 1950s stuff this week.
For clean guitar, the right LP is honestly *it* - as nice as the archtops and a good single coil can get, the LP just screams without shouting so well.
Yeah it really is big clean - and Les worked on getting sustain into the thing even on the cleanest settings. Indeed, he only liked low impedence pick ups. I would like to hear more jazz guys playing Pauls instead of their usual archtops. Imagine Tal on a Paul?
That would be something, if nothing else just for the ability to actually have a lower action.
now there's an opening.
Most excellent !
lyrics
Exploring the labyrinth
There are labyrinths at all levels of existence,
From the gross dingy material dungeons subterranean,
To the highest, most stratospheric ethereal solar mansions,
From the whorls of the ear to the spirals of the soul.
They draw us in, inexorable, lusting, obsessively hunting for the centre.
The centre, that Ariadne mirage which inevitably vanishes,
As the exhausted seeker, tries to seize his goal.
credits
from Cosmic Juice,
released August 18, 2017
Bill Boethius; guitars [synth sounds are guitars through an old secondhand Boss GT-6] and bass.
Straddling the threshold between studio performance and digital technique; the NYC artist applies "fake jazz" principles to synthpop. Bandcamp New & Notable May 2, 2024
A collection of tracks from the singer and multi-disciplinary artist's 111 collaboration series, featuring KMRU, Laraaji, and others. Bandcamp New & Notable Apr 25, 2024
