I’ve been reading Oliver Chesler’s blog Wire to the Ear for several years now. Oliver writes about gear and music, and has an alter-ego called The Horrorist. He recently started building a modular synth, and when he began looking for a sampler/looper, I invited him to stop by the house if he was ever in Philadelphia.
So two weeks ago he was, and he did.
I’ve been invited to take part in a life Disquiet Junto event at ApexArt. in NYC next week, November 27, along with several other musicians. I’ll be creating an improvised composition based on one of the past Juntos, as well as a short performance of my own doing. I’m planning to bring a small case of modular synth gear, the OP-1, some guitar pedals, and a ukulele. We’ll see what happens.
This is the first time I’ll have attempted this, playing live, in front of people who aren’t my family.
I’ve been listening to Andrew Bird all day; on the bus to jury duty this morning, during the breaks that come with duty on a jury, on the bus ride home, walking the dog, and now here in the studio, late evening, as I get some work done that I need to get done even though I have jury duty. (Homicide trial, four days, fascinating if not exactly the best timing.)
In addition to today, I’ve been listening to Andrew Bird pretty closely for about eight years, ever since I bought the CD Andrew Bird & The Mysterious Production Of Eggs while visiting San Francisco back in 2005. I thought it was his oddball literate lyrics and mysterious imagery that I liked. However I’ve been realizing over the last few months that, while the lyrics and songs are just terrific, I’ve been opening up my head to the next layer down and realizing just how much Bird uses various fun studio tricks and weirdo effects in getting that sound that I love so much, that saturated fuzzy plucky noise, the really interesting loops, and the long harmonic drones. It’s the idea that even though he uses all these loops and effects, rather than constraining Bird’s music to some grid or box like loops and technology can do, it opens up and makes it, to me, even more organic. Not to mention that he leaves in the stuff like the click of guitar pedals and stuff being knocked around at times.
I just dug up an internet thing from back in March that focuses on this studio geekery and I figured I’d share it with you here.
So there’s something about it being un-fussy and intuitive. I mean, it’s just a click of a button with my foot. And the other key thing is it doesn’t save my ideas. If I want to get a new idea, the thing I am currently playing has to be erased. Something about that keeps it just ephemeral enough that you don’t get to precious about your ideas…and it just remains “on the fly”. -Andrew Bird
Recorded another bit of improvising yesterday, this time with my G&L ASAT, which is Leo Fender’s post-Fender Telecaster. The signal path here is guitar > Shoctopus (custom octave-down fuzz) > Strymon Timeline > Strymon BlueSky reverb > Vox Night Train amp. The first section relies on the Timeline’s Lofi mode to get that honky grind, and the second section uses the Shoctapus.
I’ve reached the point now on the guitar where that what I can hear in my head and I want to do is just out of my reach to make it frustrating. When I started playing nineteen months ago, I might listen to something I like, or have a tune or sound in my head, and it may have well have been made my martians cause I had no idea what they were doing or how to get to that sound. However now I can hear this stuff in my ears or head and it often seems right there, but my technical abilities aren’t there. In many cases, not even close. It’s both frustrating and inspiring at the same time…
I spent a few hours with my blue CiJ Jazzmaster on Friday night, late after everyone here had gone to bed. I decided to see what I could do with my Strymon Timeline in dTape mode and the vibrato setting on my Clone Theory chorus pedal. The complete chain is guitar > Clone Theory > Timeline > BlueSky > Boss RC-3 > Night Train. This 8:49 here is edited down from about a half hour of recording using a Zoom H4N sitting next to my Vox Night Train head and Egnater cabinet.
The Clone Theory is a hell of a noisy pedal, and this is exacerbated by the delay and reverb. I suppose, it actually adds to the effect I was looking for in this case, but I’m still pretty certain that it’s going to get replaced this week by, hm, maybe a Strymom Ola?
I’d also like to see how to push this further, this sound. The Strymon ElCapistan does a nice job, but with the Timeline it’s hard to justify that. My favorite guitar shop down the street is expecting to get the ZVex Instant Low-Fi Junkie soon. Or maybe I’ll just do it right and find my old tape recorder down in the basement…