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from Stockhausen to Slayfoot
LOUD AS A SON OF A BITCH
FROM MEATSTICK MOUNTAIN
popeye-x listens to some tracks pito's been working on using some of those ottoloops 2003 discs. ppx begins to babble and can't stop until it all gets written down.
track 6. alright! I like your usage of my loopage, dude! very impressive and rather gratifying to boot, so I guess the loops are like the midifiles as far as providing some physical tonality to jam with, that's why I made those loops, to be inspired by some noize comin' in, it gives me energy to play what I WANT TO PLAY, its injectable vitamins for studio creativity, sonic viagra for musical penis enlargement, it grows a mean dick if you let it
track 7. oh yeah, you ought to get me to play guitar and sing on some of this stuff your crankin' out. I think I can come up with something from the same "old school vibe" of where these notes are coming from, killer fucking snare tone and hit
track 8. could be a BITCH of a track! Slayfoot rules the highway, lamerz will be run off the road into the ditch where they drain off all the piss and vinegar. I love playing twin guitars with Aaron, his 7 string tearing holes in the ground and my 6 string riding piggyback, the combination tone is awesome. Slayfoot has totally influenced my present-day guitar concept, which I would describe as ultrafuzz power chords, DI'ed into the analog mixer with the "clean" bass EQ jacked UP anywhere from +3 to +6db, its a clean tone bass boost APPLIED AFTER the filthy treble fuzz guitar is burning a hole thru its own skull, also, the post-fuzz "clean" treble and mid EQ is jacked DOWN quite a bit, -9db treble and -6 db mid. Most of my riffs are paired down to the TWO bottom strings only, or else its the TWO next-to-lowest strings throwing down 'chords' over ONE even lower string playing 'bass'. Hardly ever do I play more than THREE strings at one time. I also like to have TWO hyper clean, low end rhythm guitars, hard panned left and right, played the same THREE LOWEST STRINGS style, but with non-aggressive 'transistor amp' tone, mixed BEHIND the 'main' guitar, which is a single ultrafuzz guitar played so it sounds exactly like its just one guitar, played 'live' in one pass, on one track, panned dead center, bone dry, no delay at all... but LOUD AS A SON OF A BITCH FROM MEATSTICK MOUNTAIN. The only variation from that I will accept without a tantrum is adding Slayfoot on 7 string, playing his own thing his own way, then I always ask him to please play one more track of hyper clean 7 string, used as an occasional wild card in the mix. That sound NEVER FAILS to grab everyone's attention, "what is that?" Slayfoot is so heavy handed, I often just leave the bass out completely. until it goes to the 'keyboard' section of the song, Slayfoot drops out completely, regular bass guitar comes back in, also a few acoustic guitars, the synth is symphonic and very cloud 9, the whole sound is clean, sanitized, gorgeous, and amazingly full...
but not full enough... because suddenly the lovely bass, acoustic guitars, and flawless, glowing orchestra are all GONE!!!
Slayfoot and the drums slap the shit out of your face as they leap back in the mix, and your head starts bobbing up and down on your neck because you can tell the mix has just gotten noticably LOUDER, at least +3db, but more like +6db of headroom you didn't even realize was there waiting 'in the silence'above the roar', Slayfoot hits you squarely on the head with his TON OF LEAD... and once again everyone seems to ask at the same time: "what is that?"
Ever since Aaron moved away and got married, I've been trying to simulate what he adds to the overall band in my mind, I asked him if he would mind if I got a 7 string and used his tone and tuning... in his absence? I GOTTA HAVE IT, its like Reaktor, not a luxury, its a necessity. He said "no problem, I'd be honored if you copied me" I said thanks, you're a good kid. Aaron claims I gave him his first guitar lesson when he was 8 years old, he said I tuned his yellow plastic toy guitar and showed him how to play a Stones' song. I don't remember doing that, but it was a big event in Aaron's musical memory. I am just so jazzed that I have access to THE NEW SCHOOL of heavy guitar, I got personal instruction from a pioneer of it, I love kick ass music lessons like that, but this time the Music Master was a YOUNG PERSON, a dyed in the wool metal headbanger kid who's never even heard what you and I think of as 'the history of music'. Slayfoot changed the way I play guitar forever, and he also altered my concept of what 'the ideal band' in my head ought to be.
There's another guy who recently opened my ears and my mind. His name is Rich The Tweakmeister, from Austin. He has a website www.tweakheadz.com , lots of info, but the best part are some philosphical essays he's written about 'today's music', why it SUCKS, where its going, why it has to go there, and why it will stay that way once it gets there.
He says, in music, there is constant change, but there is one trend that is here to stay, no matter how 'retarded' the world's idea of music gets, "QUALITY is here to stay". and there is no uncertainty about that whatsoever. Yes, the retarded mongoloid distorted heavy guitar ain't going anywhere either, but even that glorious symbol of eternal rebelion will bow down to the coming era of SURROUND SOUND.
This is an important concept for anyone who desires to have any creative relevance in the coming years to know about, Tweak sez if you don't get hip to the massive change that's coming, when it comes you will find yourself relegated to the corner where all nuevo-obsolete geezers and old bitties wind up if they don't change with the times. Every facet of music production and all its presently known methods will be drasticly altered by the "Rising Tide Of Surround Sound". It won't be long before every system will have it, from the cheapest to the most expensive. Even live sound reinforcement audio Will have it. All boom boxes, all TV's, all computer media, anything with one little one inch piece of shit speaker now will have some form of reproducing it
eventually, anyone who is producing music audio now, and wants to continue to be relevant in the future, will inevitably be forced to think in terms of at least 5 seperate channels of audio, it will probably end up being 6 before it gets too far down the road. That's one reason your Delta 1010 was a brilliant choice for your PC audio engine, you are already armed for it, now we wait for the new ammo to start emerging. We need to get into some 5.1 Surround Sound production tools ASAP, that's software and hardware. The CD as we know it will be gone. Cd's will have at least 6 channels programmed into them, what is DVD audio now is more like what 'normal' will be, but we really can't envision certain developments yet, they will emerge as a natural growth from machinery as it is developed. Changes will pop up overnight and will completely take over before you have a chance to blink your eyes three times. Since we can't envision what its radical departures will be, our best shot is to know its coming and be ready for it when it starts to mutate. We need to reorient our music producing systems to have 6 outputs (at least) instead of just 2 outputs.
Of course, Karlheinz Stockhausen has insisted on all of this since day one, and he has always behaved as if the inevitable change has already happened. so its nothing new, what's new is how the rise of computers will accelrate the rate of massive changes thruout the whole world. Complete change will come within the next 5 years, but more likely even faster. Music producers should start RIGHT NOW to think in terms of how the music they produce will be better served in the new millenium media mindfuck headed this way as we speak.
I believe I shall get me a studio quality monitoring system that doubles as a live PA system, That way, all mixing proceedures and audio reproduction schemes will be equally adaptable to all the oddball variations and economic compormises that are bound to pop up. The important principal to remember is to aim for uncompromised quality as the central standard, and maintain production methods that have 'top notch quality' covered, if your big break in the industry comes along and some movie director hears your little mix and wants to know if its available for his movie, you've got to have it ready before he even asks. You have to have everything you do be able to take advantage of whatever opportunities arise, without having to spend more money or take more time before you can whip it out in all its greatness.
So that ends tonight's little mini-seminar lecture, sorry I got so long winded, but hey, if it relates directly to Slayfoot and Stockhausen simultaneously, then I think that's a good enough ''omen' to go ahead and risk a little excess data, the possibility of info overlaod is a hazzard we can afford to handle, much better to have too much than not enough. When I think about all the LAMERZ I know, every single one of them can trace the cause of their LAMENESS back to a woefully bad decision made by them, or by someone for them, it usually revolves around something similar to a conscious choice to remain LAZY and STUPID on purpose, with some half assed excuse of a so-called reason... end result?
He/She is a LAMER! For life. There is no cure for LAMERZ, nor should there be. Becasue the disease that caused their malady of eternal LAMENESS is none other than themselves, if you eliminate the source of the fuck-up, you'll suddenly blink your eyes twice and wonder where the LAMERZ who got fucked up disappeared to? It was the CURE for LAMENESS that finally did them in. Their LAMENESS was eliminated... Now its gone. And so are they. Do the math, Sparky.
ANTI POPEYE X FAN CLUB
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