amazing psychedelic music - as Janis said, "got dem cosmick blues agen, mama!" - used some delay here underneath, creating some self generating harmonies - harmonies of the spheres, man
love this feeling!!!shoooooo!
good - the holy riff of the blues kicks in then - the very stuff and symbol of our being - but we must destroy that god - the blues must be murdered everyday - this kills it again again - am i a killer? I had little to do with this Sir, something else guided my hand, Mr bassman
and a holy shMit spaceyness!!!
yes yes - teetering on the edge of feedback - each note is in danger of being snatched and thrwon down into the fiery abyss abyss of upper harmonics - space is calling at all times - it implores us to ascend - yes, dark shit-caked ascension
tell it, brah, the dark sky listens
I couldn't have drawn those notes out any longer if i tried! I love the tale of Jimi doing an open air gig when fireworks started exploding in the sky above Him. Jimi looked up and played the weirdest shit - someone gasped, "He's playing the fireworks"
ah... you know you're speaking my language!
That's 'our' language - it's in the tones, it has to have 'that' tone to be acceptable to our ears, to excite us. It's like the difference bewteen a paining in oils and one in acrylics. The latter can be good, but can never have what oils has. The sounds here are like oils, the kinds that Rembrandt uses, and at times van Gogh if only in his early potato eaters period. That is - the tones are dark and valve-like [tube-like]. Well, that is what i hope, anyway.
Valve-like indeed. I could almost smell them roasting (although I don't know if you actually employed any... it's amazing what can come "out of the box" these days).
- yes - actual valves were deployed here!
And the magic of the hot pickup and shorter scale length kicks in.
Ah! You are so right! I didn't expect this kind of difference, having always been into Strats and the like. To me, the Strat descends from the lapsteel. The Gibson type from the cello guitar. The headstock on the Ibanez is raked back slightly, the shortscale neck is slightly angeled above the body as it meets the bridge and stop tailpiece - god this is such a sweet thing! My intention when buying it was to put a Bigsby type B5 vibrato on it, as I didn't expect much from it. But now I won't dare do that.
Yea, if it's magical, don't screw with it. Get something else that crosses your path! The big thing on the scale length is just what pops out and how things play - it's why I love the 24" Fenders (Mustang, Jaguar) so damn much.
: Yeah - I'm waiting to happen on a thin semi-acoustic that I can put the B5 on - wanting to get some Duane Eddy in there! You are so instructive on the scale length - that's mostly why your Jags sound so different to Strats [sorry to sound a bit dim, but unless you have actually tried this stuff out, you wouldn't know - I have never played this shorter scale before, and I assumed it wouldn't make much difference - how wrong - of course, the longer scale has its own glories, that harder sound - and you have to fight it - but the shorter scale just glides under the hand] - you have all this stuff down on every level
Also a case of some of the sound for me on typical stuff is strings: stainless 10s on everything make it a bit brighter, and attack is all the 2mm monster picks.
: I've been usung metal plectrums for some time now - they have very little give and make a lot of extraneous noise on the strings [got the idea from Brian May using the small silver coins] - have you tried them?
The smaller machined ones are too thin for me to handle (nerve damage in the right thumb means I need something with the heft and no give of the 2mm minimum models). I use a quarter sometimes for a different sound but it's as thick as a large coin gets.
those are heavy - the heaviest plastic ones I have are 1.7mm, I think. As you say, it is also about the difference in sound between plastic or nylon and metal. I have read that glass plectrums are the hardest - haven't been able to get one yet - might be hazardous, especially if one attacked with the violence of Furtkamp - "broken glass all in my head, jangling breaking glass all in my brain"
Yea, I'd be curious to see if they break, not so curious to see if they break cleanly. :)
that's hilarious!
Really cool overlaid guitar, love the old police siren tone in there, too
Thanks Nick - went out on a limb here, even by my standards! I picked up a cheap second hand Ibanez the other day and it was instant woman tone [what I call WT anyway]. The thing is basically a Les Paul Jnr/Special type instrument and has a sound I can't get with my various Strat type guitars. So that's what I used here, the thing just singing and whining and sustaining without stop.
enormously dystopian blues, magical, unsettling music
I was thinking of Clapton's dual solo [in woman tone of course!] on the studio version of Politician - that is unsettleing too - it's coming from that direction - I was vaguely operating in two clashing tonal and rhythnmical areas at the same time - then I let the lead woman tone generate its own tonal field in contrast to the bass which plays free at some points and riffs at others-
loving those mangled, twisted blues lines
It's how I hear them - I love great blues players, but so much is based on hitting the expected notes and phrases - I tried to avoid that, just hinting now and then at blues licks - also, after making a lot of reversed guitar tracks, I've started to play backwards at times!
lyrics
The sky is undulating,
swirling its song of bedlam.
Clouds of cranial guitar
Unhinged the door
To Dali's Car,
In churning woman tone.
