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that aren’t Broadway show tunes. That’s a lot of string bending and bending behind the nut. On “The Mystic,” “Crazy,” and “The Interlude,” I used my all-original 1956 Tele through a ’66 black panel Fender Vibrolux. How did you create the ambient sounds in “C Minor,” and the textures on “Flava”
On “C Minor,” I did some post-production things after we played the basics live as a trio. I played bass clarinet, and there’s a Line 6 DL4 looper pedal. Also, before recording some of the tunes, I would create an ambient loop that I would turn on during some of the takes. On “C Minor,” the loop was a
sample of a Fairlight synthesizer and samples of classical electronic music I got from an old LP. On “Flava” I created a loop in the solo section using clarinets, synthesizers, and a backwards loop. The two metal-sounding tunes on the record—“Flava” and “Seven”—are played on my 2009 1960 Reissue Les Paul with the Marshall cranked to 10. When you’re standing anywhere near a Marshall on 10 with a Les Paul, if you take your hands off the strings it’s going to feedback and go crazy—which I used any chance I could. Were you in the same room with the amps?
I always like to record in the same room as the amp so I don’t have to listen through headphones. If you want to get feedback, you need proximity. There are two mics on each amp, and room mics all over the place—which I used on every tune. When I was rough mixing the record, I would ﬁnd mic combinations that reﬂected the tone I wanted. There’s no reverb, compression, or EQ on this record. I notice in videos that you angle your pick up. What advantage do you derive from that?
If I come across the strings diagonally, it’s a warmer and fatter sound than playing with the pick exactly parallel to the strings. You ﬁnd a sound with the pick on the strings that is the greatest sound you can come up with. and everything should ﬂow from there. What pick do you use?
Very small, extra-heavy teardrop D’Andrea jazz picks. Do you use the pointy part or the round part?
I use the pointy part. When playing blues and funk, I also pull up the strings with my thumb or middle ﬁnger. I really love doing that with Strats and Teles, because you can get the amp to explode. If you have a great instrument, many different tones will reveal themselves, depending on how hard you’re striking the string, or if you pull up on it. Do you plan to continue doing straightahead records as well?
Deﬁnitely, I have a whole book of music for acoustic quartet that I’d like to record. I create other music—like ambient music and solo stuff in my home studio. I wanted to create my own label because it would allow me to release things myself. g
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