Just me, myself, and I

  • Hi. It doesn't say clips, but I would guess that's allowed, even desired, no? I look forward to hearing yours as well.

    In my experience, no one is thinking about the guitar like I am, so no one is doing what I am. I grew up listening to pop music. In my 20s I started playing music - metal. A few years later I was taking music classes, and have since thought of music in terms of the Western Art Music tradition.

    I play electric guitar because I enjoy it. Sonically and instrumentally I think along the lines of cello and brass. For example:

    ....though I prefer a richer, fuller tone such as this:

    However, the music that speaks most to me is stuff like this:

    My music is almost completely improvised, though. Improvisation is a matter of degree. In full, time, rhythm, pitch, and articulation are at your whim. You can create any structures, any gestures, you want. I do - and intend it to sound as clear as possible, snappy and tugging, and articulated in an elegant manner.

    A word about tone: 250hz is where an instrument sound gets its meat. The tendency in recent times with electric guitar is to remove everything below about 300hz - so it can 'fit in the mix'.

    I refuse that. The VH4 tone stack, plus the G25 412, plus the C414 make for a rich, low mid tone, and rounded treble. The intention here is to simulate that physical harmonic range inherent in natural instruments; to program the ear to hear the electric guitar as a physical body in front of you, vibrating; to make it appear clangier (not clankier), with some tug; and to cover the fizzle in clipping.

  • Hi. I've been working up some new tones with B2, a few amp eq schemes and mic positions culminating in a mix of an eq scheme that started with one mic position, with the mic position that came from another eq scheme.

    The sound, the quality of the timbre, I have in my head is like this: Imagine a solid metal wire, six feet long, an inch or so thick. Instead of striking it with a mallet, one pulls a baton back and forth over the [string]. The attack is naturally smoother. From attack through release, articulation has a broader range, and I imagine tastier. Having that timbre, and sliding the pick across like two cams coming together, rolling, and donging when they separate. Clear tone emerging from them.

    I think I'm getting there....

  • Well, after some re-visiting of the Treadplate, and a bunch of messing around with it and looking into other cabs, I've got something much closer to an acoustic instrument type of sound. Analogous to - but not like! - a full size jazz guitar in a dryly resonant room, feet in front of you.

    Note the views on visiting this thread. AM I EVIL?

    0_1530340223538_evil views.PNG

  • Bravo Maestro Tanhauser. Inspiring stuff

  • A2

    are those old Winamp visualizations?

  • no notification, but I had a feeling someone had responded.

    @alderre : Cool, man. I'm glad you see it. I'm called to this kind of music making. It's so easy, and so variable. The two basic conditions are space, and directed motion, with nexus being a binding third.

    @pipelineaudio : I've been wondering whether someone might take notice. It's Battery>Random in WMP. I'd love a more 3D-ish rendering, but otherwise it's my favorite kind of visualization. Abstract.

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