OP
It's ALIVE!!!!!
Radio Atolia - Wicked Sensation Cover Project - Behind The Scenes:
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It's ALIVE!!!!!
OP
Just for fun, here are my isolated guitar tracks from this recording....
www.dropbox.com
Easter Eggs:
You are hearing 3 separate tracks, all recorded at different times and mixed left 60% right 60% and right 40% respectively.
The 'vibrato' you hear at 0:40 and 0:43 is actually performed by pressing down on the chord and 'scrunching up' the fingers
Listen to the chain saw brutality of my "C-Clamp G" chord at 0:48 - This has been one of my trademarks since I was a kid and no other 'G' phrasing slaps you in the puss like this, especially in a live mix.
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Easter Eggs:
You are hearing 3 separate tracks, all recorded at different times and mixed left 60% right 60% and right 40% respectively.
The 'vibrato' you hear at 0:40 and 0:43 is actually performed by pressing down on the chord and 'scrunching up' the fingers
Listen to the chain saw brutality of my "C-Clamp G" chord at 0:48 - This has been one of my trademarks since I was a kid and no other 'G' phrasing slaps you in the puss like this, especially in a live mix.
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What is your "C-Clamp G"?
OP
It's a G-esque chord structure in which the 'A' is muted. Basically, its a G root with emphasis on the higher register tones in the chord.
Its an old signature lick from many years ago, but you can really hear it jump out in a recording.
How do you form it, though?
OP
Let me look for a pic...
OP
I can't quite tell from the pic, are you depressing both the B and E strings at the third fret?
OP
OP
You'll hear this in almost all of my work.
Ahh, got it.
That's what I was thinking.
It's essentially a type of G5 chord. The intervals would be 1- 5 - 1- 5 - 1.
It's not an unusual chord voicing. It works well when you want kind of an open ringing quality that works well with distortion.
I think AC/DC uses this, as do others.
I never form it with my thumb, though. I form it similar to a typical open G chord, but flatten my middle finger slightly to mute the A string. I use my ring finger to depress the B string at the third fret.
I've never been one to use my thumb for chords. I know others, such as Hendrix, have done it. But, it feels odd to me.
Here's how I form that chord. My index finger isn't touching any strings in this photo and my middle finger is muting the A String.
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I will have to try that. You have monster hands, but even my short little stubby baby hands can thumb fret the low E with just enough to spare I can mute the A.
I actually play the same chord same way…. Only I’ve been doing it while still playing the B on the A string. Ring finger fretting both the high E and B strings at 3rd fret. Don’t think I’ve ever tried playing it whilst muting the A string.
Hmmmmmm….. so many strings. So many ways to play them.
Yeah, when you play it while playing the B note on the A string (second fret), you're playing a typical open G major chord, but adding an additional upper register 5th (the third fret on the high b string), which is a high D note.
The open G5 above (muting the A string) just eliminates the third, resulting in a chord that is neither major nor minor.
Gonna try it while muting the A string. Had never thought of doing that before.
So neither major or minor….. so gender neutral? Uh….. sorry. Just slipped out.
ibmorjamn
Ambassador of Moar Jammin
That sounds damn good. When I listen to George play it's weird because he plays so fluent and clean. I am not saying you did bad, I don't know how to put it in to words. His style is unique?A little more mixing....while this production is nowhere near meter perfect, it is, instead, squarely in the pocket and it jumps out and hits you right in the face from the very first note, either grabbing, or repulsing the listener in mere seconds.
It has this undeniable pulse and attitude, through the looseness and sonic swagger, and the precision of the bass track, that play off each other in this remarkable "it shouldn't work, but yet it does" kind of way.
It's hard not to feel a little blasphemous in taking this stab at Lynch's phenomenal solo. It's a little like trying to bake a soufflé for Gordon Ramsey, knowing that it's never gonna be good enough, but the solo has so many techniques and elements going on, that it's like a little song within itself.
The tone of the $60.00 Craigslist Ibanez Bass (with Ernie Ball 105's) through a generic Fender Rumble 40, direct-out into Audacity has a fat, punchy tone that carries the song along the rails like a freight train.
This has to be the most fun we have had yet with any cover song that we have ever recorded.
Here's the latest mix, just waiting for vocals...
The song was recorded at the original tempo of 98bpm. The delay on the solo was set to 3 repeats at 459ms, which is dotted eighth notes or 3/4 beat, depending o how you want to look at it.
There is no close-miking going on here. The principle of this tone is based on my preference of "distance miking." A single SM-57 is placed 3-4 feet in front of the 2x12 cabinet (@syscokid Hopped-Up Marshall Origin 50 through a pair of Celestion Copperback 250's) in a hardwood-floored room and then cranked to nearly full volume.
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I know many believe his tone is one of the best but for me Warren De Martini has a tone I like. Not saying he is better player though.
I would be proud if I could play it as well!
Yeah, the third is the only thing that distinguishes a chord as major or minor. A flatted third results in a minor chord.
So: G - B - D is a G major chord. G - Bb - D is a G minor chord. If you take the third out entirely, the chord is neither major nor minor.
Power chords generally take the form of 1 - 5 - 1. Sometimes, people will only play the 1 and the 5.
OP
I greatly admire George and his phenomenal technique. His work is legendary. George also took over Randy's music students at Musonia when Rhoads was hired by Ozzy.
However, i wanted to infuse an aire of urgency and rage into my playing. That's a general theme with me and my playing and you'll hear it in all my work.
I also intentionally deviated from George's arrangement to make my version both unique, yet familiar.
Side note: i really enjoyed doing these bass tracks. The bass line was harder than the guitar parts.
Here's Furious George knocking it out live:
Whitesnake fans will recognize the phenomenal bassist.
P.S. @smitty_p - i have some recordings where our producer - at the time - insisted on absolutely perfect phrasing on the guitar parts, especially the solos. It was a long process to make those sections "good enuff" to pass muster.
I can PM you one of those recordings if you are interested.
Personally, i prefer to use a "Rage & Gasoline" approach with lots of volume, energy and attitude in the playing...otherwise, i get bored easily.
OP
That looks like it would be a tough transition during a rapid chage...
It’s all about what you‘re used to. It’s more or less instinctive at this point.