Two videos, not the greatest sound, but they illustrate what made the idea of combining jazz technical facility, harmonic knowledge and rhythmic complexity with funk feels and rock tones, a good idea in the first place. Yes, Wynton, it is okay for jazz musicians to look like they are having fun on stage.
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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
If you didn’t get enough of an idea of how cool the new Jam Origin MIDI guitar software is from my Source Audio Hot Hand USB review, or were wondering if it can track fast playing, check out British fusion whiz Tom Qualye’s demo. If you can play that clean, it will track that fast.
Also be sure to check out my full review in the November issue of Electronic Musician magazine. Remember—absolutely no hardware or hex pickup required!
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.
Summer is festival season, so here is the fourth installment of the Guitar Moderne Festival.
We start off with Part 5 of an amazing grouping from 1994 of Terje Rypdal, Billy Cobham, and Victor Bailey. Possibly the most burning visual Rypdal ever recorded.
The NAMM show offered a multitude of effects in a showroom-style vacuum. My compadres at Premier Guitar go out in the field to show you how they are actually employed. In this Premier Guitar Rig Rundown Vernon Reid and Doug Wimbish demo the gear they are currently using in Living Color, providing a compendium of effects available to the modern guitarist and bassist. Reid is running parallel signals through VG-99, Guitar Rig, iPad and Ableton Live effects, as well as a host of other processors, while Wimbish combines distortion, filtering, and looping in creative ways. These guys are on the gear cutting edge—check it out!
Here I am using the Source Audio Hot hand USB in my first performance as a duo with drummer, laptop artist Robert Bond. I am using it to control Ableton Live’s Auto Filter, as well as the feedback on the Tal Dub Delay. You can hear the filtering get brighter and the feedback increase as I raise the guitar neck, and hear the runaway feedback disappear as I lower it. I have placed the ring on the neck so I can use it with an EBow, as I can’t move either hand away from the guitar.
Stay tuned for a dedicated video about this amazing device.