The "Musical Catastrophe" is a shot at using three looper segments in the same tune because, well, because I can from what the RC-50 is capable of doing. It's more interesting, for me, to use three bits rather than one long bit as it permits me to use each bit any time I like and however many times I like. The other aspect is whether it becomes a beautiful and mellifluous thing ... or a musical catastrophe. This and other musical catastrophes are available on the Ride the Dragon podcast for free.
The tune was recorded live on Thursday night. The loops were not live as that stuff is too complicated to put together in real time. It's much better to build a loop in front of the audience so they can come into it with you but past a certain point that isn't practical or musically valuable.
There are expectations for what something will sound like on the playback as I've been screwing with this bit in different ways for weeks. I like it or I wouldn't keep doing it ... but what you hear is not the same as what a machine records and that's why the playback gets painful. It is nevertheless absolutely necessary or you will never get your sound right.
Some changes have been made and the most obvious is to turn down the guitar. This is getting to the point of high-precision tweaking as every little change affects everything else. The object is to keep the guitar just on the edge of feedback so you can draw it out if you need it but otherwise it stays cool.
(Ed: Why didn't you do this in Cincinnati?)
That goes down as the second biggest musical fuck-up of my life. The first was that I didn't go out to California with Ophir even though I know both of us would probably wound up croaked behind it ... but maybe we wouldn't. The second was turning the Cincinnati show into a damn Ed Sullivan review. The follow-up show in Cincinnati was going to go heads-up with that but you all saw what happened.
So all this leads to one thing to me: try it again. If it's possible to get a small hall for cheap, it would be worth starving for a month to do it. Getting a lot of people doesn't matter as it's not about that. What does matter is a simulcast so I can take Cat with me and you all if you're willing to go. It's true I could do something similar from the Rockhouse but that's not much different from doing it in a Holiday Inn. Plus a hall, if I'm lucky, will have fifteen-inch subs and a synth through a big bottom like that is a major beast.
At the risk of another Ed Sullivan show, I will consider the idea of a series of acts but it's paramount to stay to the general SL rule of one hour and get your ass off the stage or I'll end up with another problem like I had last time in which I went into it thinking it could go all night and that wasn't quite how it went.
It's time to see if I can put together a Team Cowtown for support as there's no chance I can do this by myself and for a whole lot of reasons that don't need detailing. I'm absolutely nothing ... but still I need roadies!
I need this more than I need to get to Germany and I'd give one or more body parts to get to Germany. Unfortunately, I broke most of them so they aren't worth much.
The tune was recorded live on Thursday night. The loops were not live as that stuff is too complicated to put together in real time. It's much better to build a loop in front of the audience so they can come into it with you but past a certain point that isn't practical or musically valuable.
There are expectations for what something will sound like on the playback as I've been screwing with this bit in different ways for weeks. I like it or I wouldn't keep doing it ... but what you hear is not the same as what a machine records and that's why the playback gets painful. It is nevertheless absolutely necessary or you will never get your sound right.
Some changes have been made and the most obvious is to turn down the guitar. This is getting to the point of high-precision tweaking as every little change affects everything else. The object is to keep the guitar just on the edge of feedback so you can draw it out if you need it but otherwise it stays cool.
(Ed: Why didn't you do this in Cincinnati?)
That goes down as the second biggest musical fuck-up of my life. The first was that I didn't go out to California with Ophir even though I know both of us would probably wound up croaked behind it ... but maybe we wouldn't. The second was turning the Cincinnati show into a damn Ed Sullivan review. The follow-up show in Cincinnati was going to go heads-up with that but you all saw what happened.
So all this leads to one thing to me: try it again. If it's possible to get a small hall for cheap, it would be worth starving for a month to do it. Getting a lot of people doesn't matter as it's not about that. What does matter is a simulcast so I can take Cat with me and you all if you're willing to go. It's true I could do something similar from the Rockhouse but that's not much different from doing it in a Holiday Inn. Plus a hall, if I'm lucky, will have fifteen-inch subs and a synth through a big bottom like that is a major beast.
At the risk of another Ed Sullivan show, I will consider the idea of a series of acts but it's paramount to stay to the general SL rule of one hour and get your ass off the stage or I'll end up with another problem like I had last time in which I went into it thinking it could go all night and that wasn't quite how it went.
It's time to see if I can put together a Team Cowtown for support as there's no chance I can do this by myself and for a whole lot of reasons that don't need detailing. I'm absolutely nothing ... but still I need roadies!
I need this more than I need to get to Germany and I'd give one or more body parts to get to Germany. Unfortunately, I broke most of them so they aren't worth much.
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