when finally completed, the trivial group sequence will consist of a 2-cd arranged in four thematically linked "symphonies", of which two are currently complete and one is partly complete. this is a live play through of the second half of the third piece and the entirety of the fourth.
this was written over 2004 and yet has not been recorded in any significant form. i went through a long period from '04 to '07 where i was convinced this piece (and some others i was writing at the time) required a drummer and refused to record until i could find one. i couldn't find one, which put me into a fit of depression and led to writers block & etc. eventually, i just bought an electronic kit with the goal of playing it myself.
however, i then skipped over it because i felt i was dragging on the relationship it was about on just a bit too far. time to move on, kind of thing. it had outlived it's relevance, without making it to track.
i'll be recording this (finally) over the upcoming months. for now, here's a messy demo of it.
https://soundcloud.com/deathtokoalas/the-lost-symphony
Friday, May 23, 2014
Thursday, May 22, 2014
done for the night.
day.
what is time?
the rhythm parts are now almost done. i've been bouncing around between all these weird tunings...
...but the last rhythm sections are connected to some acoustic parts, which should be done tomorrow.
will have to change the strings and etc in the morning.
afternoon.
i also need to record some live drums, somehow. then: leads, vocals, production. getting there...
day.
what is time?
the rhythm parts are now almost done. i've been bouncing around between all these weird tunings...
...but the last rhythm sections are connected to some acoustic parts, which should be done tomorrow.
will have to change the strings and etc in the morning.
afternoon.
i also need to record some live drums, somehow. then: leads, vocals, production. getting there...
my acoustic works! yay!
i was worried about it for a long time, because it seemed like i had just demoed the intonation by dragging it across the country in a canadian spring. going from ottawa to new brunswick to manitoba to alberta to bc to alberta and back to ontario, across rainforests and deserts and mountains, from cold to hot, from dry to damp, and in a little nylon gig case the whole time, and in a short amount of time, seemed to have left it in an unplayable state. it was in the unfortunate state of being unable to produce an E that sounded the same across different strings, no matter how closely i tuned it.
but, i changed the nut on it and left it in a weird string configuration - i had a heavy gauge in the D position, and a light gauge in the G position - and then got evicted and completely forgot about it, as it sat in a basement, alone, for two years.
i don't remember exactly what i was thinking, but whatever intuition i had about warping it back into shape seems to have worked, because it's as good as new now.
i really missed having a playable acoustic. things are all slowly coming into place...
another weird thing: i cut the strings off with a pair of electrical pliers that are probably older than i am and, for all i know, may have even belonged to my grandfather. what's weird about it is that it's the same set of pliers i used to use to cut the strings on the first acoustics i played with when i was roughly ten years old.
i was worried about it for a long time, because it seemed like i had just demoed the intonation by dragging it across the country in a canadian spring. going from ottawa to new brunswick to manitoba to alberta to bc to alberta and back to ontario, across rainforests and deserts and mountains, from cold to hot, from dry to damp, and in a little nylon gig case the whole time, and in a short amount of time, seemed to have left it in an unplayable state. it was in the unfortunate state of being unable to produce an E that sounded the same across different strings, no matter how closely i tuned it.
but, i changed the nut on it and left it in a weird string configuration - i had a heavy gauge in the D position, and a light gauge in the G position - and then got evicted and completely forgot about it, as it sat in a basement, alone, for two years.
i don't remember exactly what i was thinking, but whatever intuition i had about warping it back into shape seems to have worked, because it's as good as new now.
i really missed having a playable acoustic. things are all slowly coming into place...
another weird thing: i cut the strings off with a pair of electrical pliers that are probably older than i am and, for all i know, may have even belonged to my grandfather. what's weird about it is that it's the same set of pliers i used to use to cut the strings on the first acoustics i played with when i was roughly ten years old.
Wednesday, May 21, 2014
uploading proverbs demos to soundcloud
this is a very early (july 31, 2005), no effects demo of the second & third movements (reversed). there are a few flourishes, both gained & lost.
https://soundcloud.com/deathtokoalas/proverbs-symphony-movements-3-2-summer-2005
https://soundcloud.com/deathtokoalas/proverbs-symphony-movements-3-2-summer-2005
i think we've all heard rumours of just how widespread the "buy fans" industry is on social media, but on soundcloud they've taken it to a different level. i'm actually getting spammed to buy likes, and i can't believe that's possible without some help from soundcloud.
well, the business models on these sites are notoriously bad. could they make money by selling likes? it might be the only way they're making money.
as mentioned, i've really tried to avoid soundcloud. i'm using it to hold lo-fi demos. i'd never upload anything finished there...
this is what i got spammed with:
https://soundcloud.com/jake_pk
open spamming suggests to me that the industry is working in plain view.
i mean, i'd never buy likes. it's pathetic. a non-starter. but it's actually not something that would help me either, as i'm more interesting when i'm obscure. if we want to talk venn diagrams, my intersection with popular culture is pretty much zero. it doesn't really matter how much i spend on buying likes or other kind of bullshit promo because what i'm creating is inherently revolting to anybody with a follower mindset. to me, buying likes is like trying to market tampons to teenage boys......it's floating a product that is entirely useless to that market.
i'd go so far as to argue that the type of person that is going to listen to my art is almost certainly going to use ad blocking software.
well, the business models on these sites are notoriously bad. could they make money by selling likes? it might be the only way they're making money.
as mentioned, i've really tried to avoid soundcloud. i'm using it to hold lo-fi demos. i'd never upload anything finished there...
this is what i got spammed with:
https://soundcloud.com/jake_pk
open spamming suggests to me that the industry is working in plain view.
i mean, i'd never buy likes. it's pathetic. a non-starter. but it's actually not something that would help me either, as i'm more interesting when i'm obscure. if we want to talk venn diagrams, my intersection with popular culture is pretty much zero. it doesn't really matter how much i spend on buying likes or other kind of bullshit promo because what i'm creating is inherently revolting to anybody with a follower mindset. to me, buying likes is like trying to market tampons to teenage boys......it's floating a product that is entirely useless to that market.
i'd go so far as to argue that the type of person that is going to listen to my art is almost certainly going to use ad blocking software.
Monday, May 19, 2014
second section of guitar overdubs is done. after all the fucking around, i stuck with less is more, but i'm going to convert one of the counter-melodies into a vocal part, instead.
vocals? yeah. i think i'm going to get back to them, but generally release the material in instrumental form, as well. i know what it's like to enjoy a piece of music and despise the singer, so i'll provide that option.
i do consider myself handy enough with words, but i'm not a poet and have never aspired to be one. for all my rambling about the sanctity of art for art's sake, i'm pretty harsh on poetry as being pretty much useless. see, it strikes me either as a pretty base and unimaginative form of expression or as the height of pretension, with almost no middle ground. i'm more interested in observational writing.
but, maybe observational writing is sort of like poetry and i'm just being semantic. maybe it's actually the middle ground i seek. this could go around in circles for a while, so i'll be clear on the line i'm drawing; you can attach that line to different concepts as you see fit. the difference is in getting an idea across vs mentally masturbating around the language of a turn of phrase. the more obfuscated and layered your statement is, the less valuable the statement becomes. development is key in getting a point across, but the point is getting across the point, and i like to be as clear and straight to it as i can be. if you need a book to explain your poem, you've failed at communicating a message and might as well be just jerking off in the corner by yourself.
to me, this whole dialogue is a big part of what punk rock is really about.
it's not really a break. i've always used vocals, i've just jumped from using them liberally to using them sporadically, and it was mostly because i just didn't have anything i wanted to get across in the medium. if i had something to say, i would - and did. i actually think i can trace this decision back to about '06 or so, meaning it was only really in the early mid 00s that i mostly shunned vocals (although, again, it was never total). it's just that i have very little completed work to show for myself since '05.
anyways.
systems collapse is being stuck in the middle of an alley closing in on all sides. so, let the factories turn to rust and let the buildings fall apart. if you need me, i'll be rocking out with the horn section...
vocals? yeah. i think i'm going to get back to them, but generally release the material in instrumental form, as well. i know what it's like to enjoy a piece of music and despise the singer, so i'll provide that option.
i do consider myself handy enough with words, but i'm not a poet and have never aspired to be one. for all my rambling about the sanctity of art for art's sake, i'm pretty harsh on poetry as being pretty much useless. see, it strikes me either as a pretty base and unimaginative form of expression or as the height of pretension, with almost no middle ground. i'm more interested in observational writing.
but, maybe observational writing is sort of like poetry and i'm just being semantic. maybe it's actually the middle ground i seek. this could go around in circles for a while, so i'll be clear on the line i'm drawing; you can attach that line to different concepts as you see fit. the difference is in getting an idea across vs mentally masturbating around the language of a turn of phrase. the more obfuscated and layered your statement is, the less valuable the statement becomes. development is key in getting a point across, but the point is getting across the point, and i like to be as clear and straight to it as i can be. if you need a book to explain your poem, you've failed at communicating a message and might as well be just jerking off in the corner by yourself.
to me, this whole dialogue is a big part of what punk rock is really about.
it's not really a break. i've always used vocals, i've just jumped from using them liberally to using them sporadically, and it was mostly because i just didn't have anything i wanted to get across in the medium. if i had something to say, i would - and did. i actually think i can trace this decision back to about '06 or so, meaning it was only really in the early mid 00s that i mostly shunned vocals (although, again, it was never total). it's just that i have very little completed work to show for myself since '05.
anyways.
systems collapse is being stuck in the middle of an alley closing in on all sides. so, let the factories turn to rust and let the buildings fall apart. if you need me, i'll be rocking out with the horn section...
deathtokoalas
i still remember sitting hunched over on my bed when i was fourteen and fifteen and sixteen and seventeen, transcribing soundgarden tabs to standard tuning and wrenching my hands inside out actually playing them. this one's in standard tuning. burden in my hand was one i remember being particularly weird to play. that might be the best practice you can give a kid to get their hands going around.
with fell on black days, it was that off the wall solo (and those harmonies at the end) that was fun to play along with, because the chemistry between kim and chris on the track is so deep that it gets across through a mass manufactured tape played on a cheap ghettoblaster. there's only maybe two or three songs that i know of like this, where you can really channel the emotion of the track just by playing along with it.
the guitar just turns into this electrified monster, and the guitar trance suddenly takes over.
(deleted post)
deathtokoalas
kim's stuff isn't that hard to learn, really, if you're coming into it with enough dexterity. it's a specific style, you just need to get your fingers and mind into it and most of it comes out pretty naturally because it's mostly just all tremoloing through pentatonics. i always wondered if that wonky guild of his was initially a way to get a zappaesque sg thing going on.
but it's a lot of fun to play.
(deleted post)
deathtokoalas
something i used to do back in the day was just run chromatically up and down the neck. i spent a brief period trying to be an impressionist jazz punk guitar teacher by just throwing all the theory out the window and teaching kids to work directly with semitone intervals. the idea was to warp their brains into rejecting western tonality and understanding the instrument as a kind of matrix of notes, in which they could build their own patterns.
none of the kids lasted long, but they did get their fingers moving quickly. see, to me, that's the important thing - being able to move your fingers with enough control to be able to create what you hear in your head.
so, that helps. it's dry, though. kim would throw his beer at me, call me a wanker and tell me to go listen to steve vai. of course, i agree with him to a large extent. i kind of don't feel like soundgarden was meant to be studied.
but it does work.
Huzaifa Ahmed
dude what's wrong with koalas?
deathtokoalas
koalas need to be destroyed due to their cuteness.
J.C. Gleason
Aren't the majority of Soundgarden songs in drop D? I know that Black Hole Sun, Birth Ritual and Outshined are but I don't know.
deathtokoalas
soundgarden used alternate tunings in general, not just dropped d, although the low e was in fact often dropped down a little (sometimes down to c). a lot of the interesting voicings they came up with came from using open tunings.
J.C. Gleason
Really? Huh, you learn something new everyday.
deathtokoalas
yeah. the open tunings were a genre marker of alt rock in the 80s, but are really pretty standard through the history of folk rock.
Jackson P.
Black Hole Sun isn't in drop D....
deathtokoalas
i'm pretty sure it is, actually. it's been a long time, though.
this song isn't, though.
Jackson P.
Yeah you're right. But it's harder to play in drop d than whatever I originally learned IMO.
And yes, this is just in standard. Rather easy song as well.
Could've very well done without that last guitar solo though :/
deathtokoalas
bah. it's the solo that's the fun part to play....
J.C. Gleason
Not necessarily.
deathtokoalas
iirc, black hole sun is in drop-d specifically because it uses the lower two notes. you'd have to transpose it up at least a full tone (unless you're down a half step anyway, then a semi tone) to play it in standard tuning.
at that age, i couldn't be bothered to fuck with tunings. i had one of those ibanezes with the locking bridges and the thumb screws, which means i would have had to unlock the thing to take it in and out of dropped-d or open c or whatever else. that's why i retabbed all the weird tunings for standard tuning. i mentioned it's good for the hands, but it was also good for getting to know the fretboard.
Mathews Barbosa
true story
Djalma Reis
You....damn, you could stay in silence, but no!, you wrote this. You've shared this with us; gold we find through the night on the internet. Thank you very much.
Grease Munkee
why wouldnt you just tune to the song?
deathtokoalas
well, it was the ibanez. i didn't know what it was when i bought it (well, my dad bought it), i was like 12 at the time. i don't know if they still make these things or not, but they lock the tuning in place near the nut and then give you thumb screws near the bridge to tune with. the thumb screws only let you go up or down about a tone or so, then you need to unlock the system at the nut. it's an annoying process. and, if you want to play four or five songs in a row in an alternate tuning, you're going to be spending more time fiddling around with the guitar's hardware than actually playing.
the purpose of the system is to prevent tremolo/whammy players from going out of tune. it's the kind of thing people like steve vai, who use a lot of whammy bar, need to get through a set on stage; not the best guitar for kids playing with tunings.
i still remember sitting hunched over on my bed when i was fourteen and fifteen and sixteen and seventeen, transcribing soundgarden tabs to standard tuning and wrenching my hands inside out actually playing them. this one's in standard tuning. burden in my hand was one i remember being particularly weird to play. that might be the best practice you can give a kid to get their hands going around.
with fell on black days, it was that off the wall solo (and those harmonies at the end) that was fun to play along with, because the chemistry between kim and chris on the track is so deep that it gets across through a mass manufactured tape played on a cheap ghettoblaster. there's only maybe two or three songs that i know of like this, where you can really channel the emotion of the track just by playing along with it.
the guitar just turns into this electrified monster, and the guitar trance suddenly takes over.
(deleted post)
deathtokoalas
kim's stuff isn't that hard to learn, really, if you're coming into it with enough dexterity. it's a specific style, you just need to get your fingers and mind into it and most of it comes out pretty naturally because it's mostly just all tremoloing through pentatonics. i always wondered if that wonky guild of his was initially a way to get a zappaesque sg thing going on.
but it's a lot of fun to play.
(deleted post)
deathtokoalas
something i used to do back in the day was just run chromatically up and down the neck. i spent a brief period trying to be an impressionist jazz punk guitar teacher by just throwing all the theory out the window and teaching kids to work directly with semitone intervals. the idea was to warp their brains into rejecting western tonality and understanding the instrument as a kind of matrix of notes, in which they could build their own patterns.
none of the kids lasted long, but they did get their fingers moving quickly. see, to me, that's the important thing - being able to move your fingers with enough control to be able to create what you hear in your head.
so, that helps. it's dry, though. kim would throw his beer at me, call me a wanker and tell me to go listen to steve vai. of course, i agree with him to a large extent. i kind of don't feel like soundgarden was meant to be studied.
but it does work.
Huzaifa Ahmed
dude what's wrong with koalas?
deathtokoalas
koalas need to be destroyed due to their cuteness.
J.C. Gleason
Aren't the majority of Soundgarden songs in drop D? I know that Black Hole Sun, Birth Ritual and Outshined are but I don't know.
deathtokoalas
soundgarden used alternate tunings in general, not just dropped d, although the low e was in fact often dropped down a little (sometimes down to c). a lot of the interesting voicings they came up with came from using open tunings.
J.C. Gleason
Really? Huh, you learn something new everyday.
deathtokoalas
yeah. the open tunings were a genre marker of alt rock in the 80s, but are really pretty standard through the history of folk rock.
Jackson P.
Black Hole Sun isn't in drop D....
deathtokoalas
i'm pretty sure it is, actually. it's been a long time, though.
this song isn't, though.
Jackson P.
Yeah you're right. But it's harder to play in drop d than whatever I originally learned IMO.
And yes, this is just in standard. Rather easy song as well.
Could've very well done without that last guitar solo though :/
deathtokoalas
bah. it's the solo that's the fun part to play....
J.C. Gleason
Not necessarily.
deathtokoalas
iirc, black hole sun is in drop-d specifically because it uses the lower two notes. you'd have to transpose it up at least a full tone (unless you're down a half step anyway, then a semi tone) to play it in standard tuning.
at that age, i couldn't be bothered to fuck with tunings. i had one of those ibanezes with the locking bridges and the thumb screws, which means i would have had to unlock the thing to take it in and out of dropped-d or open c or whatever else. that's why i retabbed all the weird tunings for standard tuning. i mentioned it's good for the hands, but it was also good for getting to know the fretboard.
Mathews Barbosa
true story
Djalma Reis
You....damn, you could stay in silence, but no!, you wrote this. You've shared this with us; gold we find through the night on the internet. Thank you very much.
Grease Munkee
why wouldnt you just tune to the song?
deathtokoalas
well, it was the ibanez. i didn't know what it was when i bought it (well, my dad bought it), i was like 12 at the time. i don't know if they still make these things or not, but they lock the tuning in place near the nut and then give you thumb screws near the bridge to tune with. the thumb screws only let you go up or down about a tone or so, then you need to unlock the system at the nut. it's an annoying process. and, if you want to play four or five songs in a row in an alternate tuning, you're going to be spending more time fiddling around with the guitar's hardware than actually playing.
the purpose of the system is to prevent tremolo/whammy players from going out of tune. it's the kind of thing people like steve vai, who use a lot of whammy bar, need to get through a set on stage; not the best guitar for kids playing with tunings.
when i was about 15, my aunt gave me a $20 gift certificate at a local music store. it's the thought that counts, but the truth is she really had no idea that $20 doesn't go very far in a guitar store, and i didn't really need any more strings.
so, i took a look through the tab books. it was the mid 90s. i didn't need anybody to teach me how to play nirvana songs, that was easy enough. i'd already taught myself most of siamese dream (with a little help), and the best parts of superunknown, but would have probably jumped on either if they were there. they weren't. so, i grabbed the tab book for the first candlebox disc...
this one was a lot of fun to work through.
so, i took a look through the tab books. it was the mid 90s. i didn't need anybody to teach me how to play nirvana songs, that was easy enough. i'd already taught myself most of siamese dream (with a little help), and the best parts of superunknown, but would have probably jumped on either if they were there. they weren't. so, i grabbed the tab book for the first candlebox disc...
this one was a lot of fun to work through.
it's funny sometimes how you're playing a harmony over a chord change and it sounds familiar and you can't figure it out and then you do. :).
"you're sharper these days, roll on security."
have to blame hendrix for this in the end, though. plausibly through srv as an intermediate.
but, here's the thing: 6s, 7s, 9s, whatever - even 3s - rock music just needs to get beyond the 5s. don't tell me you can't punk up a major 7th. i've got a list for you. i do. that's what really made 90s rock sound so much more interesting - the simple fact that, harmonically, it really actually was more interesting.
"you're sharper these days, roll on security."
have to blame hendrix for this in the end, though. plausibly through srv as an intermediate.
but, here's the thing: 6s, 7s, 9s, whatever - even 3s - rock music just needs to get beyond the 5s. don't tell me you can't punk up a major 7th. i've got a list for you. i do. that's what really made 90s rock sound so much more interesting - the simple fact that, harmonically, it really actually was more interesting.
also, why did they have to cut the track? it's jarring.
uploading me, myself & the time i thought this was a good idea (acoustic demo) to soundcloud
so, here's today's track.
=============
this was never meant to be released as it is, although i had some ideas about putting together an acoustic ep of tour material. neither touring nor the accompanying ep followed. but this is hanging out on the old hard drive, and it has some fucking charm to it, if i might say so myself. so, it gets to be the first up to my little lo-fi side site.
at the time (early 2002), i was working on some psychedelic pop demos with a friend of mine. i was loading the tracks up with all kinds of overdubs and effects and other fun things, but the possibility of performing the material live with just the two of us (without stooping to the level of backing tapes or, worse, those fucking horrid loop pedals that make everything sound like steve reich after a fucking lobotomy), was pretty much completely impossible. these songs were solid - they could hold their own on an acoustic. i also realized that acoustic music was on it's way up, so doing a little tour as a two-person harmonized folk duo was the way to go. this track, however, was written in a bit of a post-punk style and needed to be rearranged for acoustic guitar in order to have that idea work itself out.
so, i just demoed this up for the other guy (the vocals are just there to drive the track along; the other guy wrote them, not me) to get the point across. he didn't like any of this - not the touring as an acoustic folk duo idea, not the rearrangement on the track, nothing. in 2002. oops? it's the story of my musical career....
the track is full of messy playing, because i'm trying to sing at the same time and the vocals are rhythmically contrasted against the guitars - but mostly because nobody was supposed to hear this. i'll be re-recording this over the next few months, as i clean up my writing from the period.
https://soundcloud.com/deathtokoalas/me-myself-and-the-time-i-tried-to-convince-the-other-guy-it-was-a-good-idea
=============
this was never meant to be released as it is, although i had some ideas about putting together an acoustic ep of tour material. neither touring nor the accompanying ep followed. but this is hanging out on the old hard drive, and it has some fucking charm to it, if i might say so myself. so, it gets to be the first up to my little lo-fi side site.
at the time (early 2002), i was working on some psychedelic pop demos with a friend of mine. i was loading the tracks up with all kinds of overdubs and effects and other fun things, but the possibility of performing the material live with just the two of us (without stooping to the level of backing tapes or, worse, those fucking horrid loop pedals that make everything sound like steve reich after a fucking lobotomy), was pretty much completely impossible. these songs were solid - they could hold their own on an acoustic. i also realized that acoustic music was on it's way up, so doing a little tour as a two-person harmonized folk duo was the way to go. this track, however, was written in a bit of a post-punk style and needed to be rearranged for acoustic guitar in order to have that idea work itself out.
so, i just demoed this up for the other guy (the vocals are just there to drive the track along; the other guy wrote them, not me) to get the point across. he didn't like any of this - not the touring as an acoustic folk duo idea, not the rearrangement on the track, nothing. in 2002. oops? it's the story of my musical career....
the track is full of messy playing, because i'm trying to sing at the same time and the vocals are rhythmically contrasted against the guitars - but mostly because nobody was supposed to hear this. i'll be re-recording this over the next few months, as i clean up my writing from the period.
https://soundcloud.com/deathtokoalas/me-myself-and-the-time-i-tried-to-convince-the-other-guy-it-was-a-good-idea
wow, soundcloud. unique usernames? what is it, 1997?
and, it's beyond surreal that they're forcing artists to pay to turn off comments. i remember back when that was soundcloud's gimmick. comments! at the precise point you're thinking them! because the world gives a fuck!
it's even the reason i've avoided it all these years.
so, fuck these guys.
but trendy people are trendy. it's the right place for these "lo-fi" demos.
https://soundcloud.com/deathtokoalas/
and, it's beyond surreal that they're forcing artists to pay to turn off comments. i remember back when that was soundcloud's gimmick. comments! at the precise point you're thinking them! because the world gives a fuck!
it's even the reason i've avoided it all these years.
so, fuck these guys.
but trendy people are trendy. it's the right place for these "lo-fi" demos.
https://soundcloud.com/deathtokoalas/
Sunday, May 18, 2014
actually, maybe its one of those things i should do daily ups for. yeah.
it's all raw instrumental guitar stuff, probably the closest i'll ever get to being any kind of folk musician. i'll get these to a space on bandcamp eventually, once i decide what a reasonable thing to do with them is. like, do i want to release them as singles or together somehow? for now, i think using soundcloud as that kind of sketchpad is an interesting sort of experiment...
it's all raw instrumental guitar stuff, probably the closest i'll ever get to being any kind of folk musician. i'll get these to a space on bandcamp eventually, once i decide what a reasonable thing to do with them is. like, do i want to release them as singles or together somehow? for now, i think using soundcloud as that kind of sketchpad is an interesting sort of experiment...
been playing with guitar effects...
....but also writing new tunes.
i'm trying to really focus on finishing old stuff rather than make new stuff, but then i start jamming something out and fuck me. the thing is who knows how long it will take to get around to seriously working on anything, when i have such a ridiculous list of stuff. so, i'm going to set up a soundcloud page for just random thoughts as they come out....
...and i'm actually going to put a bunch of stuff up there, 'cause i have a bunch of stuff in that current status.
....but also writing new tunes.
i'm trying to really focus on finishing old stuff rather than make new stuff, but then i start jamming something out and fuck me. the thing is who knows how long it will take to get around to seriously working on anything, when i have such a ridiculous list of stuff. so, i'm going to set up a soundcloud page for just random thoughts as they come out....
...and i'm actually going to put a bunch of stuff up there, 'cause i have a bunch of stuff in that current status.
Saturday, May 17, 2014
weird what one finds on a random search. i'm working out a solo in f minor. searching for fun...
if you're going to do something like this, it would do a lot of good to explain why the chord is f minor. once you know that F, Ab, C (with f on the bottom) makes an Fm, it's just a process of finding the triad where you want it to be. i find the d shape to be quite nice for minor chords.
anyways, back to my solo in f minor :P
if you're going to do something like this, it would do a lot of good to explain why the chord is f minor. once you know that F, Ab, C (with f on the bottom) makes an Fm, it's just a process of finding the triad where you want it to be. i find the d shape to be quite nice for minor chords.
anyways, back to my solo in f minor :P
Thursday, May 15, 2014
deathtokoalas
so tired.
enough of this. been going on too long, now. need a manic episode, please. five, six days without sleeping. that's the good stuff....
@michael huggins in addition to the synth, you're dealing with an expression foot pedal connected to a pitch shifter, although i feel that your initial idea of a sampler is probably pretty accurate. i don't think the solo is live, i think it's cut up and pasted back together.
but you probably don't need an actual synth to get this, you just need some kind of software system with a foot pedal and a whammy bar. i could get something close to it out of a digitech whammy/pitch combo.
also, fwiw, the whammy work screams belew rather than fripp.
so tired.
enough of this. been going on too long, now. need a manic episode, please. five, six days without sleeping. that's the good stuff....
@michael huggins in addition to the synth, you're dealing with an expression foot pedal connected to a pitch shifter, although i feel that your initial idea of a sampler is probably pretty accurate. i don't think the solo is live, i think it's cut up and pasted back together.
but you probably don't need an actual synth to get this, you just need some kind of software system with a foot pedal and a whammy bar. i could get something close to it out of a digitech whammy/pitch combo.
also, fwiw, the whammy work screams belew rather than fripp.
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