Three of the most prominent modern guitarists in the world got together on June 11, 2013 at Le Poisson Rouge in New York City. Fortunately someone captured it on video.
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This phenomenal show was fortunately captured on high quality video and largely great sound. Stian & Company (Øystein Moen, keys; Erland Dahlen, drums, Susanna Wallumrød, guest vocals) offer up Wagnerian Sturm und Drang; crashing waves and violent winds, alternating with moments of heart wrenching beauty in Norway’s reverberant Nidarosdomen cathedral.
Eventide’s audio effects have been long been considered objects of desire by musicians, engineers, and producers. Going back to their first harmonizer, these units have been employed on dozens of classic recordings, as well as live—by the lucky few who could afford them. Their stompbox series, though still not cheap, made these effects accessible to a much wider range of sonic explorers. Avant-guitarists like Noveller, Eivind Aarset, and Stian Westerhus soon began exploring the tonal possibilities of the self-explanatory Pitch-, Mod-, and TimeFactor pedals, as well as the reverb-centric Space stomp. For me, the problem remained that, while each pedal has numerous incredible sounds, there are way more than I would be likely to use. To assemble the particular effects I want would require purchasing the entire set, an outlay of $2000—the same price that puts even their budget rack unit, the Eclipse, out of my range. Enter the H9…. There are plenty of great demos on YouTube, but here is one that concentrates on using the iOS control for experimental sounds. Continue reading
I am old enough to remember Gittler’s first time around, about thirty-five years ago. It heralded the first truly radical shift in guitar design since the lute morphed into the instrument we know today. The world wasn’t ready at the time, though the Museum of Modern Art in New York recognized it as a gorgeous piece.
Here’s hoping the guitar world has come far enough to support this amazing instrument this time around. If you want to get in on the ground floor, join their kickstarter campaign.
If you think falsetto vocals somewhere between Antony Hegarty and Kenny Rankin, guitar playing that somehow reconciles Rankin, Derek Bailey, and Robert Fripp, combined with drones that recall Norwegian fiddle music, you might be able to conjure up the sound of Toronto’s Eric Chenaux. But don’t bother—just check out some of these videos [there are multiple videos of the same tune to show his improvisatory nature]. Or, better yet, buy his latest record Guitar & Voice so you can experience his unique talent for creating gorgeous lyricism tempered with willful dissonance. Chenaux offers Guitar Moderne readers a glimpse of how he arrived at his singular style.
Here is a fantastic interview Henry Kaiser did with Derek Bailey for the defunct Bay Area magazine Bells.
Source Audio epitomizes the kind of forward thinking encouraged at Guitar Moderne. From the company’s inception it has eschewed the kind of “vintage is better” thinking pervading much (but thankfully not all) of the effect pedal industry. Vintage is great, but Source Audio has taken the challenge to push the world of guitar performance into the future. Their centerpiece product—Hot Hand—is a ring that remotely controls their line of guitar and bass effects, as well as any other effect with a continuous control input. Now, through Hot Hand USB it can also control plug-in and DAW parameters on your computer.
Earthquaker Devices is one of most successful pedal manufacturers to emerge from the boutique effect world. By offering solidly constructed, great looking and sounding pedals at an affordable price point, they have shaken up the market like a 5.0 trembler. Though they offer standard effects like overdrive, fuzz, distortion, and compression, Earthquaker also occasionally pushes the pedal envelope with something like the Arpanoid ($225 list).