Black Walls’ new album Acedia is available for pre-release purchase.
I’ve had Ken’s artwork on my wall as a huge print for the last couple of years. I’m stoked that this is now out.
Robyn Hitchcock plays The Drake this weekend. Last night he covered Syd Barrett’s Terrapin. His Fylde has never sounded better.
Robyn Hitchcock - Terrapin
I’ve got a hankering for some surf twang from my Tele. As it’s quite a nice guitar, I’d prefer not to drill it. After not much luck asking on tdpri.com, I had to do some digging myself.
There are a bunch of options for Vintage-style telecaster bridges. Those are the ones with the familiar “ashtray” bridge, three saddles for a bridge and four screws securing them to the body. One of these is the Vibramate; their V5-TEAS for the Standard is coming out later in the year.
But the Standard bridge is different; it has six blocks, three screws, and is a different length from the Vintage bridge:
Options for these are fewer:
- The ZZGuitarworks Bigsby EZ-Mount System W/B3R Bridge looks promising. (The B3R is for right-handed Standards; B3L for lefty Standards. Similarly, B4R is for Vintage 4-screw ashtrays.)
- The Stetsbar fits both Standard and Vintage. It does require neck shimming, though.
I just counted, and found out that my instrument collection has 115 strings. I think I should thin the herd.
I went to hear Chris Coole yesterday at The Local, and got pressed into the not-very-arduous duty of looking after the levels. With only voice and instrument, it’s not that hard, and I only once managed to produce an ear-splitting blast of feedback. There was a slight ring if Chris leaned forward and his guitar started to feed back a couple of times.
I also ran my first soundboard-audience matrix recording rig, with the PMD620 recording off the board, and my old minidisc recording from my table. The Local’s not short of ambient noise, so it’s nice to control it. The board gives a clean but rather dead mono recording, while the audience mics pick up lots of colour (and dropped plates, door chimes, …)
I haven’t put the full matrix together yet, but tried it on one excerpted song. Once you know what you’re doing, aligning tracks in Audacity is pretty simple – just find a clear note or beat in each track, get the tracks roughly aligned with the Time Shift tool, then zoom in as close as you can to refine the match. I suppose I should have delayed the audience track by about 0.01s to mimic the distance from the stage, but that’s a bit nerdy. Limiting the audience to 25% of the final mix, I get a great warm sound, but one that’s unfortunately almost entirely monaural.
Chris Coole plays a relaxed set at The Local every Sunday. He had his new custom guitar last Sunday; it looks and sounds great.
He played his version of Michael Hurley‘s Slurf Song. He let me upload it, so here it is: Slurf Song [mp3].
We have quite the colony of largish, leggy spiders in our basement. They pretty much keep to themselves, as they have plenty of work thinning the woodlouse herds.
I was improvising a barre-chord hambone beat on the tele, when I noticed one of the spiders walking towards me. I stopped; it stopped. I started again; so did it. I switched to the 12-string acoustic and started bashing out the same rhythm; spider was like “meh” and stayed put.
Ladies and gentlemen, we have a spider with the soul the late Mr Diddley in our basement …
Presenting the Stewart C. Russell not-patent pick holder:
Yes, it’s just a plastic eraser with knife cuts in it cable-tied to the guitar stand. It works, and both items were in my kitchen drawer. Now I’ll always be able to take my pick …
This is allegedly what happens when the battery runs out on your Zoom H2 while recording: whiskey before breakfast. This is Nichol playing his Collings during a lesson.
Black Godin SDxt. Floating tremolo bridge blocked out to make it a hard-tail. Plays very nicely. Cheap! $275, on consignment at Encore Music Exchange – call Dave at 416 691-2686.
We played guitar and banjo for most of Earth Hour. This is how my fretting hand ended up: