Noise related endeavours of little historical import are found collected in the annals.
Largely irrelevant ramblings, asides, and diversions are now on rob.blot.im.
Noise related endeavours of little historical import are found collected in the annals.
Largely irrelevant ramblings, asides, and diversions are now on rob.blot.im.
I shall now probably only play acoustic instruments for the next decade.
And what has now become traditional the accompanying backing track version.
When I say music…
The usual suspects are joined by a Source Audio Super Collider delaying and reverbing at the end of the signal chain. Or not quite the end as there be a Digitech JamMan Solo XT recording the outcome. Continuing the Digitech theme a Polara provides the reverse reverb.
The Poly Effects Bebo is mainly for delay in quantity at the following lengths: 31, 32, 96 and 128 seconds. Some chorus and phasing is included for good measure. (Patch photo at the end of the video).
The Zoia is running ‘Parts’ by who else but Christopher H. M. Jacques: ’10 … loopers probabilistically record and play back … depending on a “Density” control. The loops are randomly panned throughout the stereo field, and can be set to different pitches and reversed.’ It is that very Density control I can be seen twiddling.
Today’s guitar is a new old stock DBZ Royale ST as knocked out by Scan Computers in the UK at very reasonable rates (if you can still be bothered to fight your way past Cloudfront Captchas). It’s thin and lightweight but a gnats neck heavy. I got is specifically to set up with very thin strings and ludicrously low action to be easy to play when my shoulder and wrists aren’t in the mood for anything with more resistance.
Speaking of heavy it comes with high output humbuckers – fine for energetic styles but replaced on mine with the more mellow Warman Retro Rockers.
There is also a longer, and though it’s hard to believe, duller version of this on the channel as I had uploaded it before realising the folly of my ways.
Originally the light relief in a forty five minute track it’s presented here extracted and mucked around with. The video was made using state of the art (in 2001) audio visualisation technology originally developed as the Milkshake plugin for WinAmp and here implemented for cross platform use by ProjectM.
Other than the sequenced backing all the synth parts are from sticking the bass and guitar parts through Jam Origin Midi Guitar II.
From Happy Fun Tunes
Filling a hole in the video catalogue.
Seemed apt.
From the EP of a different name…
Still knocking out the videos to have something to put on YouTube.
As seen on…
Many moons ago I posted online the odd tune suitable for late night listening but the varying embedding restrictions and ephemeral nature of the web meant the individual posts became hard to maintain. So having collected them into compilations I thought I might as well stick ’em on Mixcloud.
And that concludes the current series.
Playing with the modules on the Poly Effects Beebo / Digit I came up with this ditty and it’s the effects that do the heavy lifting as I’m a bit restricted in what I can play by the return of an old shoulder injury. An Empress Zoia helps out with a tremoloed reverb and a ping-pong delay which is a bit lost as I’m just recording the sound of my computer speakers – hence a certain amount of ‘acoustic’ guitar.
As this series grows it becomes increasingly obvious that I have too many guitars, in the is case a Fret-King JDD, the Jerry Donahue signature model to which I’ve added a kill switch, moved the various controls and replaced the tone potentiometer with a TBX one with Premier Guitar modifications.
Many moons ago I posted online the odd tune suitable for late night listening but the varying embedding restrictions and ephemeral nature of the web meant the individual posts became hard to maintain. So having collected them into compilations I thought I might as well stick ’em on Mixcloud.
A bit of a cock-up on the recording front as I deleted the lead guitar and had to use the camera microphone which means a certain amount of room noise and backing track spill but it’s near enough for light opera.
The guitar I’m using is a Revelation RLR based on the Les Paul ‘Recording’ model and has pickups that can switch between humbucker and two single coil modes. There’s a phase switch and a variable impedance control to change from modern to vintage tones and I’ve added a bass cut which adds a couple of options to thin out the sound which is particularly useful with a lot of effects.
In this instance I’m using the humbuckers which are out of phase when I move to both on. The strings are a little unusual these days being Thomastik-Infield flatwounds, 12 and up.
For the backing track the Poly Effects Beebo / Digit is running the Leon Todd preset where eight delays are arrayed like one configuration of the Yamaha UD Stomp. I’ve just changed the routing a little to follow it with an Empress Zoia in the second set of ins and outs. The Zoia is running an old standby from the industrious Christopher H. M. Jacques, ‘Fading Dream’ – in diffuse mode. As seen on Patchstorage.
The melodic part is the Chordelayverb on Beebo, again by Leon Todd.
And the ‘amp’ is the Neunaber Neuron which I like because it doesn’t set out to be a copy of any other guitar amplifier.