ligneclair

I’ve recorded a whole lot of music over the last seven years or so, but either never connected enough of it together to make anything like an “album,” or never really have got around to it.

These pieces I’ve recorded this summer with the looping guitar kind of came together and I think they work. So if you’re so inclined, head over to Bandcamp and get the release. Don’t forget to download the “bonus” PDF as well.

It’s a free download with the option to pay something if you like. I’d love to get some feedback on this; the use of Bandcamp, the tracks, the music itself. I hope to start doing this more often, creating series of works that hold together in some way, rather than the fits, starts, and pieces of things that I currently have on my Soundcloud account.

Here are the liner notes from the accompanying PDF booklet:

Dance Robot, Dance was begun in 2007 as a forum on which to write about that which I love, which is making electronic music. Back then, everything was made with a sequencer of some kind, and typically a synthesizer. Hence, Dance Robot, Dance.

In 2011 I began taking guitar lessons and while sequencing and oscillators are still important to what I hear and do, my Jazzmaster has kind of become the other woman, as it were, with whom I spend more of my free time than maybe I should. It’s a bit ironic to me that this first “release” I am making under the name Dance Robot, Dance is strictly electric guitar.
The tracks that make up Ligneclair were created with a sparkly blue Fender Jazzmaster, a pretty white Rivera Venus 3 and a shiny Vox Night Train amp, a Pigtronix Infinity looper, a Strymon El Capistan looper/delay, and an Electro-Harmonix Stereo Memory Man with Hazarai looper/delay. Several other stompboxes were employed as well. The recordings were made on June 27, 2013 and July 28, 2013 with a Electrovoice microphone and the line-out of the Rivera amp, recorded to Ableton Live via a Motu 828 mk3, and edited therein. Most of the tracks were left complete, front to back, with only a little EQ or somesuch added. A few of the tracks were originally 10-20 minutes of looping redundancy and were therefore edited in Ableton.

I know nada about mixing or mastering, so what you hear is what you get. Send suggestions my way.

These tracks were orginally posted on Soundcloud and I would like to thank the various Soundcloud users who “liked” and commented on them, thus encouraging this project.

The landscape photos on the tracks as well as this PDF were shot in June, 2013 along the highway north of Queenstown, New Zealand, at Landis Pass. It’s a lovely part of the world and you should try and visit if possible.

Brian Biggs
August 16, 2013

looping looping gnipool looping

return to ChCh

I’m getting boring.

I have a lot of neat-o gear. In fact, I have what I might say is too much. The only reason I don’t say I have too much is because I frequent internet forums dull of people who are way way deeper down the hole than I am. I’m lucky that I have teenagers, debt, and other hobbies or else I’d be in real trouble.
But I digress. I’m getting boring. All I want to do for the last many months, music-wise, is sit down with the sparkly blue Jazzmaster and make guitar loops. I’m perfectly happy to sit for hours with this guitar plugged into any one of the several looping devices that I have* and dig deep. Granted, before hitting the looping device in use at the time, the guitar first goes through any number of the other gear things that I have. But still. It’s just a guitar, right?

These are Jazzmaster through various pedals to the amp, a Rivera Venus 3. I think I recorded these with the built-in mic of a Zoom H4N recorder.

The good thing about this single-mindedness is that it allows me to kind of focus on learning about some stuff that I need to learn about. Like recording, on the technical side. Typically, before I sit down and hit record, I decide on a particular method of capturing whatever I’m doing. For example, I have this fantastic amp that is somewhat noisy. So I’ve been trying to figure out some method to record where this is less of an issue. Also, this amp has a line out from the power section and it’s interesting to record this output while at the same time micing the speaker (which by the way is really awesome — the line out that is. It’s nice and tight and clear. The next time I do this I’ll take just the line out, and then set up a microphone about ten feet from the amp to pick up this more distant room sound. Stay tuned.)

Another thing I do is work on the guitar/music stuff by hammering away on modes and scales. My guitar lessons move a little faster in my head than my fingers do on the fretboard. I’ve been diving into and understanding modes (Ionian, Dorian, Phrygian etc.) lately, and we’ve been working on triads and arpeggios alongside. But I rarely ever seem to know when these fancy things would be useful while actually playing songs. So I typically start out these looping sessions by repeating a couple of notes or a chord, and then playing some improvised loop on top using these modes and scales. I actually learn a lot this way, but it’s still all pretty much abstract theory. If I was jamming with dudes I have no idea whether any of this would be useful. (In related news, I recently glommed on to Rick Springfield’s Jessie’s Girl, and since I’m not the kind of guitar learner to want to learn to play, say, Jessie’s Girl exactly the way it was played on the record, Lou my guitar instructor is showing me how to use these modes and scales while working out my own rockin’ solo. Stay tuned for that too.)

The recordings below were made with the line out of the amp on the right and the mic’d amp (SM57) on the left.

Hope you like these. I like making them. Leave some comments, let me know what think you.

*Pigtronix Infinity Looper, Strymon El Capistan, Electro-Harmonix Stereo Memory Man w/Hazarai, Korg Kaoss Pad, TC Electronics Ditto, The Harvestman Tyme Sefari mk2, Make Noise Phonogene, Teenage Engineering OP1, various software…)