I play the next set quietly while on break and then hit "go" on the delay pedal, then I just sit back and watch the rest of the band play while my signal is delayed for the next 30 mins
Seriously how cool would that be?
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Joined: Sep 07, 2011 Posts: 507 |
I play the next set quietly while on break and then hit "go" on the delay pedal, then I just sit back and watch the rest of the band play while my signal is delayed for the next 30 mins Seriously how cool would that be? |
Joined: Feb 27, 2006 Posts: 1062 Berlin, Germany |
Being a busy player is really awful. I learned to play fewer notes mostly by using fuzz, but high levels of long delay help too. From a design standpoint work is finished when you can not substract anymore from it (not when you can not add to it anymore). You give your individual notes significance by not playing too many of them. But at the end of the day it’s up to you to be the guitar equivalent of a Swingle Singer (dabadaba), producing audio wallpaper, which is a legit thing! Or be the guitar version of a Wagner opera bariton. —The Exotic Guitar of Kahuna Kawentzmann You can get the boy out of the Keynes era, but you can’t get the Keynes era out of the boy. Last edited: Nov 21, 2012 04:32:37 |
Joined: Oct 28, 2008 Posts: 671 Winnipeg, Canada |
I've been practicing "unplugged" a lot lately, partially because I mostly play late at night and I don't want to wake the family, but also because I wanted to hear what my fingers were really doing. I agree that effects can mask poor playing to some degree, but you'd probably have to be quite creative and proficient to use an effect to fill in notes in a song and make it sound good. I think a player needs to match the effect to the song to try and emulate in real live sound what the songwriter was hearing in his/her head when the song was written or when a new arrangement is being worked out. I think the Edge said something close to this in, "It Might Get Loud". —https://www.facebook.com/index.php?lh=9353f9155b5ff32e14c998495fd00da4&#!/rich.derksen.7 |