In Part I Dither co-founder Taylor Levine and I discussed the quartet’s origin and the concept of “good” guitar tone in a New Music/Modern Classical context. Here we delve deeper into the record, Potential Differences, guitarist’s process and gear, as well as some other projects of which he is part.
Life and website issues got in the way of doing timely NAMM reports this year. In my defense many of these products just started shipping a couple of months ago. As has become habit, there were hundreds of cool pedals on offer, mostly variations on pedals you have seen and heard.
With NAMM 2020 coming up, I thought I would do a listing of the things I saw last year that might be different and of more interest to the modern guitarist. The theme in January seemed to be the return of modulation (flange, chorus, and phase), fuzz/harmonizer combos, and guitar synth pedals. I am featuring only what I consider to be the most interesting takes on each. Please check company websites for details.
In February of 2019, I was flown up to Montreal to cover composer/guitarist Tim Brady’s evening of 150 guitars for Guitar Player. You can read my coverage and interview about that here and see a sample below. Inspired by my conversation with Dither’s James Moore, after we finished Tim’s GP interview, I restarted the recorder for a wide ranging dialogue about the state of the electric guitar in today’s classical world. We covered a lot of ground so I am breaking it up into two posts. If you enjoy Part I, please subscribe to be notified when Part II is posted.
I can’t believe it has been four years since I spoke to Eivind Aarset, the guitarist largely responsible for sending me on this Guitar Moderne journey. Now is the perfect time, as he is featured on four new records. We spoke about three of them, and surprise, surprise, his first new guitar in, well, forever.
Sometimes it takes great modern players to demonstrate new ways in which the electric guitar can be used to creatively enhance the song form: Belew/Fripp in King Crimson, David Torn with David Bowie, Stian Westerhus with his band Pale Horses, and now Markus Schneider on his new record Widerspruch, where he intones evocative vocals over glitchy guitar. This Viennese guitarist contacted me and I checked out some live videos, where his cool Hofner immediately caught my eye. I decided an interview was in order.