one of my favorite guitar tones in a while. just read in desc. what kind it was - the guitar itself - a four pick up guitar [each pup has its own on/off switch] with a black variatone switch on the top left upper bout, so you can get different shadings of tone with it. Because of the off set body, I find the trem arm nestles nicely in the right hand so you don't have to consciously reach out to play it, it's always there. Made by the British company Revelation, with Alan Entwistle single coils, it's a joy to play, which came through on this track.
diggin the theme (topic)! the tone is just so eternal natural as well!
Yeah, I was after an electric sound - a very electric sound - which sounded woody, narural, like a wand carved with runes. So it's all about that - I've long been a devotee to the runes.
The hold there is perfect.
Posted 7 months ago7 months
: It was that luminous note that made me tarry - the guitar is playing me more than vice versa on this
: Those are the best times!
An imaginary west-side Western floats in somehow.
Thanks for pointing that out - I can see it now - those sorts of guitar sounds haunt this track, even though it was inspired by the Northern forests.
The whammy is just right.
: This Jag copy has a Strat type whammy rather than the Jag type. I find the former to be a superior design, but with the super comfortable off set body the whammy arm just sits better in your hand than it does on a Strat
: The Jag trem is for me the functional "doesn't break saddles left and right" equivalent in feel of the old Kahler Flyer, which is still my preferred trem.
I can make do with a Strat, won't abide by a Floyd, and the Mustang, well, I don't even put the bar in - if I want trem on it, I just lift the lipstick saddle-holder manually. ;)
Yeah, as usual I betray a lack of knowledge - I can only bases my opinion on my limited experience. The Khaler looks like the Steinberger trem I have on my headless - must say that is a superior trem to the Strat one. My Phantom has a Jag type trem, and I find that if I misuse it like I do the Strat type, that the screwww on the arm starts to loosen. So it is fine for subtle semitone bends, but not for anything more adventurous. Did you have a guitar with a Khaler?
From what I can see of the Floyd [never tried one] it seems that you are sacrificing so much for the trem. I like the strat design because it balances across the whole instrument. I bow to you on the Mustang - there were some pretty puny trems in the past - the sideways SG one looks very naff [haven't tried that either!]
Yea, I've had several with them over the years. Basically it was everything *good* about a Floyd and the Jag trem except you weren't stuck with clipping strings, allen wrenches and craziness and could rest your hand on the bridge, and it did the subtle Jag warble as well on demand. Traditional Jag trems are pop-in arms (not threaded) so that may be part of the issue you're having.
The Mustang was simply "have a trem on a student guitar" - it's a cost-saving feature in the days before CNC routing or machining. They're a DISMAL design but they impart a particular sound to the guitar that's somewhere between a LP-type stoptail and the harp of the Jag trem if the bar isn't used. The SG Lyre one I never bonded with, it was a Gibson attempt to "add a trem" without paying Bigsby money is my guess.
plus, dare I guess that you worked in standard tuning?
Nearly - it's all 4ths, which is my standard tuning - so from the lowest string, D G C F A# D#
I very much like the nakedness of this, the bare expressiveness. It is very clearly you, but there is an unadorned aspect that is to my ears new. It os boldly contemplative and I like it.
- , it just felt right - played just after waking up, and with no prethought - the melancolia was there, but tempered by the thrill of playing on this wonderful Revelation guitar, and yet holding back and just letting the mood tumble out without interferring too much. I listened back and it didn't have any obvious fluffs, and it had a terse quality where there wasn't any wasted notes. I knew I had a take there - I knew it was more than just a warm up doodle. I related it immediately to the winter trees, and to death, and being alive in the midst of all that ..
: that lower register clangs out nicely on this axe
Oh that slowly ascending sequence is gold..I'm stealing that! :))
Be my guest! Yeah the first phrase just begged to be transposed up a few times - it's not a lick or anything, it just happened as I tried to sustain the elegaic mood. I love this Revelation guitar too - with four pick ups and a varitone control, I switch between some of the settings during the piece [hence the clicks!] It reminds me in its response to Loren Connors Strat sound/approach. I dedicate this piece to him in my mind.
Very cool chord around here
Yeah - that's why I lingered there and held it after picking out a note - and as you know, it just happened to resonate nicely there in that position - the same chord revoiced somewhere else on the fingerboard might not have had that same vibe - so you listen for the instrument to tell you where to go too
Finding this a fascinating insight into your technique. ..pre-bends, slides, vibrato and broken chords
Something revealing about picking up an instrument and just playing out a mood in a completely one off improv. There's some Freudian slips in there that get lost when you work something up. Those techniques you mention mostly derive from wanting to move in and around the frets, not be tied down by the frets [although we like the sound a low string makes when it's firmly struck behind a fret!]. As for the chords, my approach has always been horizontal, in that wherever you are on the fingerboard there's a chord shape(s) there even if you are picking out single notes.
lyrics
YEW
This time of year, at winter, one reflects, and the ancient gods rise up.
So today, with just one guitar and a beat, I had to play some forest blues for the gods.
The guitar, being made from blessed wood, is a wand, and conjures up runes against the crackle of its bonfire of amplified heat.
The following rune was met;
The Yew
Is a strung bow,
And the brittle iron,
Of a harm striking arrow.
Bow Rainbow.
[from the Old Icelandic Rune Poem]
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
