![]() ![]() ![]() – solo/funky part (neck pickup) mild Fuzz Face Stratocaster, bridge pickup (unless otherwise noted) – 300ms (repeat mode) with variable feedback and volume. Note: David would roll down the guitar volume knob to create overdrive sounds for rhythm parts. It’s also wise to acknowledge that technique, place and time, studio trickery and who knows what plays a role in David’s tones in addition to the equipment. This feature should therefore only be used as a guideline for your own setup and not as a gospel. David often make adjustments and may not even be consequent in how he’s using the equipment. ![]() on Y.T.Keep in mind that all effect settings and setups are based on pictures and video from a certain date and/or interviews and third hand transcriptions that are subject to interpretation. There is a really interesting interview with Ron Geesin where he discusses the entire recording session of A.H.M. Some of the transition sections from "Music From the Body" show that this was evident. Waters was experimenting with improvising sounds like Syd Barrett before him and Geesin was composing Avant-Garde string quartet pieces. ![]() This could be true due to the fact that Geesin and Waters looked up to the American Electronic/Avant-Garde composers. It has been written in the past that the piece "Leave The Driving To Us" from Mort Garson's "The Wozard Of Is" gave Waters the idea for "On The Run". I mention all of this because Geesin and Waters shared a common interest in American Electronic composers like Beaver & Krause, Mort Garson, Ruth White and then several American 20th century Avant-Garde composers as well. That could be a 20th century Avant-Garde style of improv I don't know? It is difficult to say that the particular section was written out as in comparison to a composer like George Crumb or John Cage where upon the average person might think their music sounds like noodling yet is charted out for 5 instruments and to be played exactly the same every performance. There is also experimentation towards the end with electronic sounding effects, percussion, mellotron and some in and out fading of notes sustained on horns. which is what Geesin did.however he more or less expanded further with intensity of a Classical mentality. They were like fragments that needed to be surrounded by a few signature lines. that were originally created by Pink Floyd and presented to Ron Geesin by the band were mostlt improvised pieces. ![]()
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