Chord Gliding w/Reverb

gaybear · Post by **gaybear** » Sat May 07, 2011 4:50 am

i got it and primarily use it for the space sound, but you can also make lotsa tweaky noise with the echo setting.

drBenway · Post by **drBenway** » Sun May 08, 2011 4:00 pm

I get really neat sounds with reverse early reflections on my fx500 and some overdrive.

Here's a youtube clip of a guy using that setting:

And here he's using it again to get that typical slowdive sound:

I've ranted about this device here before, oh well. I think it pwnz anything in the same price range if you're looking for these types of sounds.

EDIT: Youtubes shitty .be-urls won't let me imbed the videos, sorry.

George · Post by **George** » Sun May 08, 2011 4:20 pm

johnnyseven wrote:Nice demos!

Has anyone noticed how the guitar guy from The Horrors totally robbed this sound from KS, it's all over their Primary Colours album?

I think so too. They also borrowed really heavilly from Krautrock and new wave as well.

Mages · Post by **Mages** » Sun May 08, 2011 8:06 pm

George wrote:
johnnyseven wrote:Nice demos!

Has anyone noticed how the guitar guy from The Horrors totally robbed this sound from KS, it's all over their Primary Colours album?
I think so too. They also borrowed really heavilly from Krautrock and new wave as well.

yeah, really like that album. I wouldn't say he "robbed" the sound from shields. it's a pretty well known technique at this point.

George · Post by **George** » Wed May 11, 2011 6:05 pm

I hear things like 'groundbreaking' and 'genius' attached to this album, which I think is overstated. Really it's just the response of a younger generation of kids listening to something old that's being recycled. Chord diving aside, "Robbing" is a fair kickback against a band that are cashing in on it.

Don't get me wrong, it's a great and well executed album but the borrowed genres are palpable.

johnnyseven · Post by **johnnyseven** » Wed May 11, 2011 6:50 pm

George wrote:I hear things like 'groundbreaking' and 'genius' attached to this album, which I think is overstated. Really it's just the response of a younger generation of kids listening to something old that's being recycled. Chord diving aside, "Robbing" is a fair kickback against a band that are cashing in on it.

Don't get me wrong, it's a great and well executed album but the borrowed genres are palpable.

I like the album a lot too but it does sound to me like MBV crossed with Bauhaus with some Krautrock drum beats.

Fran · Post by **Fran** » Wed May 11, 2011 6:59 pm

A reviewer in a magazine commented on the last Horrors album saying "they've obviously got a great record collection and picked out which bits to use".
Fair play though, its difficult to find any way of being a unique band anyway. People are still ripping The Beatles off.

johnnyseven · Post by **johnnyseven** » Wed May 11, 2011 9:03 pm

At least they're ripping off the good bits, most so-called indie bands I hear these days all seem to be borrowing off bands that weren't round that long ago and weren't even any good in the first place. It's the main reason I never listen to the radio.

honeyiscool · Post by **honeyiscool** » Wed May 11, 2011 9:35 pm

I mess around with glide guitar as well (I had a huge MBV phase), you can also do it with an armless Mustang if you put some elbow into it, literally. You need the tailpiece to be not too low, I generally like to set up Mustangs with a high tailpiece so that I can use the whammy without the bar. I find the Mustang arm to be a little too sensitive to strum with.

I don't practice this much so I can't do it as smoothly as I would like. I used it in one of my songs but that was only for a few measures at a time.

Here's me trying it on an MBV song. It gets a bit tiring after a bit so the first part is a lot better than the second.

[youtube][/youtube]

Mages · Post by **Mages** » Wed May 11, 2011 10:32 pm

yes, the guitarist uses the gliding chord technique on a few songs on that album. but tell me one song that sounds like a MBV song. there isn't one. they did their own thing. I sympathize with the fact that you guys have to be exposed to the ridiculously hyperbolic british music press (NME, et al.) that constantly heap unnecessary praise on bands but the truth is, it's a good album. I don't need to kickback against anything, it went almost completely unnoticed in the US, I probably wouldn't have ever listened to it if benecol hadn't pointed it out.

furthermore, please point me in the direction of an artist who is completely original. there is no way you can avoid "robbing" someone. so you might as well take from good bands. I think it has more to do with that that technique is heavily identified with that band and hasn't been used widely otherwise. more widely adopted techniques that people use ubiquitously like string bending, palm muting, power chords, drop tuning, etc., etc., etc. no one ever complains that anyone "robbed" those techniques from BB King or the Ramones or whoever. the difference between a technique being robbed or a technique being traditional is merely a case of how many people are doing it.

I also like things that sound new and fresh but I'm not going to be derisive of artists that work in a more pre-established stylistic manner. I think that is to be appreciated in it's own right. really I don't think you can argue that somehow original = better. or that artistic originality = artistic validity or something. are all symphonic musicians crap? because they play nothing but covers. or guys like jimi hendrix were in tons of cover bands. nothing wrong with just playing music for people to enjoy. there is a wide spectrum of originality from cover bands to john cage. all of them are just as artistically valid. there are artists that spend their whole lives perfecting a particular style of art or music or whatever. traditional folk musicians, comic book artists, etc. or lots of bands that are just genre specific; thrash, psychobilly, etc. I don't think you can say that they shouldn't be judged on the same level as "real" art. that's all that high and low art crap. I think that's junk.

honeyiscool · Post by **honeyiscool** » Thu May 12, 2011 12:29 am

^^^ Off topic, but I associate the drop in general musicianship and musical knowledge of today's players to the fact that so many people think they have to be original. There's no shame in playing covers or being in a covers band, but people feel that way nowadays, and it leads to people who are extremely lopsided, which is fine, but something gets lost there. Ironically, taking influences from other artists becomes less plagiaristic and more original the more people you study and copy. What I'm saying is that if you try to copy Johnny Marr, you will sound like Johnny Marr but if you try to take influences from a couple of punk guitarists, a couple of jazz guitarists, and a couple of bluesmen, and combine it all in a blender, you will probably sound quite original.

ekwatts · Post by **ekwatts** » Thu May 12, 2011 1:42 am

honeyiscool wrote:^^^ Off topic, but I associate the drop in general musicianship and musical knowledge of today's players to the fact that so many people think they have to be original. There's no shame in playing covers or being in a covers band, but people feel that way nowadays, and it leads to people who are extremely lopsided, which is fine, but something gets lost there. Ironically, taking influences from other artists becomes less plagiaristic and more original the more people you study and copy. What I'm saying is that if you try to copy Johnny Marr, you will sound like Johnny Marr but if you try to take influences from a couple of punk guitarists, a couple of jazz guitarists, and a couple of bluesmen, and combine it all in a blender, you will probably sound quite original.

There is no "drop in general musicianship and musical knowledge" in today's players. None that I can easily make out, at least. We're talking about pop and rock music. It was never rocket science to begin with and the whole point was that some scumbag kid in 1950s Liverpool or Chicago could buy a cheap German/Russian/Japanese guitar and be out on stage playing their smash hit within a few weeks. The vast majority of "important" and influential bands started off winging it and generally became excellent players as a result, it wasn't a prerequisite.

Some of my favourite bands started without any real grasp of theory or even the basics of playing their chosen instrument, and they stretch a long line right back to the 60s and all the way up to the present day.

Mages · Post by **Mages** » Thu May 12, 2011 4:08 am

yeah me and jcyphe were talking about this in a thread a few months back. I agree with what ekwatts is saying. guys like son house were not musically educated, they just played what they knew. you can just take your few influences and run with it as far as you can go. I don't think some kind of broad musical knowledge is necessary to create your own music. if that's your thing that's fine but it's not always necessary and a lot of great art and music has been created with a relatively limited scope of knowledge.

Fran · Post by **Fran** » Thu May 12, 2011 6:44 am

Mages wrote:yeah me and jcyphe were talking about this in a thread a few months back. I agree with what ekwatts is saying. guys like son house were not musically educated, they just played what they knew. you can just take your few influences and run with it as far as you can go. I don't think some kind of broad musical knowledge is necessary to create your own music. if that's your thing that's fine but it's not always necessary and a lot of great art and music has been created with a relatively limited scope of knowledge.

Back when we started a band it seemed no one knew any theory, my friend could'nt even tune his guitar. We just like'd JAMC and i knew a few chords from books.
I noticed in the mid 90s a lot of people started using this same local tutor and subsequently there was a wave of Hendrix wannabe's that all sounded very similar to each other.
This sounds backward but you can have too much knowledge, there comes a point people cannot think outside the box because they've been schooled to do things how they should be done. If anything, players know more than they need to now, especially considering EVERYTHING is on the net.

I have nothing against The Horrors, like i said, its been happening since the 60s. Their gear makes me roffle a bit though, old Selmer amps and stuff on stage is mildly hilarious. To me that is in example of trying to be cool instead of being cool.
True about the British music press though. Fuck their opinion.

NickS · Post by **NickS** » Thu May 12, 2011 8:55 am

I noticed that since we've been doing these covers that my improvisation seems to be include a couple of things I never used to do.

Dave · Post by **Dave** » Thu May 12, 2011 9:07 am

I think this early track by the Horrors is absolutely smashing:

[youtube][/youtube]

Plus I've played some really nice Selmer amps! Used to have a great 50 watt Treble 'n Bass head which I didn't get to be a brit-hipster, I got it because it was nice 60's hand wired tube amp head for less than 300 quid that sounded nice! My dad used to play Selmer and WEM before his band could afford Vox AC30's in the early 60's because they were cheap back then in comparison, and that's the same reason they played burns Splitsonics instead of strats!

johnnyseven · Post by **johnnyseven** » Thu May 12, 2011 9:11 am

Mages wrote:yes, the guitarist uses the gliding chord technique on a few songs on that album. but tell me one song that sounds like a MBV song. there isn't one. they did their own thing. I sympathize with the fact that you guys have to be exposed to the ridiculously hyperbolic british music press (NME, et al.) that constantly heap unnecessary praise on bands but the truth is, it's a good album. I don't need to kickback against anything, it went almost completely unnoticed in the US, I probably wouldn't have ever listened to it if benecol hadn't pointed it out.

furthermore, please point me in the direction of an artist who is completely original. there is no way you can avoid "robbing" someone. so you might as well take from good bands. I think it has more to do with that that technique is heavily identified with that band and hasn't been used widely otherwise. more widely adopted techniques that people use ubiquitously like string bending, palm muting, power chords, drop tuning, etc., etc., etc. no one ever complains that anyone "robbed" those techniques from BB King or the Ramones or whoever. the difference between a technique being robbed or a technique being traditional is merely a case of how many people are doing it.

I never said that they sounded like MBV and I also never said that they weren't doing something original, it was just an observation. I think you've got the wrong end of the stick here. I really like this record and think it's nice to hear a trendy UK indie band doing something interesting, whether it was borrowed, robbed or just influenced by doesn't really matter to me.

NickS · Post by **NickS** » Thu May 12, 2011 9:28 am

Dave wrote:Plus I've played some really nice Selmer amps! Used to have a great 50 watt Treble 'n Bass head which I didn't get to be a brit-hipster, I got it because it was nice 60's hand wired tube amp head for less than 300 quid that sounded nice! My dad used to play Selmer and WEM before his band could afford Vox AC30's in the early 60's because they were cheap back then in comparison, and that's the same reason they played burns Splitsonics instead of strats!

I was hoping to pick up a T'n'B 50 cheap 5-6 years back (I'd used the MKI and the MKIII, traced and hand-drawn the schematics back around 1969), but before I could pick one up at the right price point they suddenly started to go up in price. Same with the Sound City amps. Of course, they don't have a master volume control so the JTM60 I now use was a better solution (and cheaper).

johnnyseven · Post by **johnnyseven** » Thu May 12, 2011 10:44 am

I have a 1969 Carlsbro 50 Top which I picked up for Â£250, it sounds great but i've recently been thinking of selling it on as I don't use it that often - I have no idea what price to sell for though as I think what I bought it for was below it's value, it is a bit tatty though.

Fran · Post by **Fran** » Thu May 12, 2011 3:49 pm

Dave wrote:Plus I've played some really nice Selmer amps! Used to have a great 50 watt Treble 'n Bass head which I didn't get to be a brit-hipster, I got it because it was nice 60's hand wired tube amp head for less than 300 quid that sounded nice! My dad used to play Selmer and WEM before his band could afford Vox AC30's in the early 60's because they were cheap back then in comparison, and that's the same reason they played burns Splitsonics instead of strats!

This is it. People used them because they were cheap but they are'nt anymore. The Horrors must have coined out a fair bit for their gear in order to look cool, its contrived. But the bands that made this stuff cool used it out of necessity.