Music

[Haruhiko]

It’s a great guitar, but I dislike scratch plates (even transparent ones) so I never bought one. Instead I bought something as close as possible.
View attachment 32789
View attachment 32790
View attachment 32791

Somewhere, I have a photo of me playing Steve Vai ‘s EVO…the ‘Answers’ lick!

You played Vai's EVO? That's a pretty personal experience, I'm jealous. From what I recall that was his main axe for like half his career.

A certain someone I'm related to played in a certain prominent psychedelic/prog rock band. The lead guitarist of that band taught me how to play the guitar. Not the theory or anything, just feeling around and intuiting progressions. And when I say taught, I really mean he just jammed and chatted away with me and my uncle at family get togethers.

I've only got a Vox 50 tube, Fender Tele '52 reissue with vintage stock, big Muff fuzz pedal given to me by my late uncle's bandmate, an Ibanez tube screamer, and a chromatic wha-wha pedal from I can't remember where.

Oh and a big echo switch but again the name escapes me. It's all old stuff but does the job (when series'd properly). The JEM doesn't really need a lot of cutting because of the Evo pickups so I don't use the tube screamer much with it, but the tele LOVES pedals. Telecasters are built for pedals. They're so clean.

I agree about your opinion on scratch plates by the way, I wish teles were released without them because the wear on the wood finish would look so much better after years of playing.

 

[Gyakuto]

You played Vai's EVO? That's a pretty personal experience, I'm jealous. From what I recall that was his main axe for like half his career.

Yes, Steve used to do these fantastic pre-soundcheck fan meetings; ‘EVO Experience’. He’d chat and answer questions. One year, there was about 10 of us (and we became firm friends) he had EVO in his hand and unceremoniously handed it to me, sat down and started talking! I was a bit in awe because my most favourite music had been composed and recorded using this bashed up guitar with it’s bit of green tape on the pickup and an alarming crack in the neck/body joint! I attempted to play my favourite ‘Answer’s lick’, learned from the official Hal Lenard score, butchering it terribly because of the awkward slides required to get that sound. He looked over and said, ‘Oh those are bends not slide.’ What a revelation!

One of the most interesting things he told us over the years is how his composes. He said he would spontaneously make up a little ‘dance sequence’; a series of steps, body and hand movements and transfigured those movements into music! It explains the unconventional nature of his music. I’ve related this story to other artists like sculpturers and potters and they say they do the same sort of thing! Fascinating…

A certain someone I'm related to played in a certain prominent psychedelic/prog rock band.

Spock’s Beard? Grateful Dead?… I can’t think of anymore…

The lead guitarist of that band taught me how to play the guitar. Not the theory or anything, just feeling around and intuiting progressions.

Sacrilege! You must learn music theory and then bend it out of shape!

I've only got a Vox 50 tube, Fender Tele '52 reissue with vintage stock, big Muff fuzz pedal given to me by my late uncle's bandmate, an Ibanez tube screamer, and a chromatic wha-wha pedal from I can't remember where.

I have more money than sense so my list of guitars is embarrassing. I have an original Peavey 5150 amp which is sublime; the best distortion ever…Edward Van Halen, after all.

Oh and a big echo switch but again the name escapes me. It's all old stuff but does the job (when series'd properly). The JEM doesn't really need a lot of cutting because of the Evo pickups so I don't use the tube screamer much with it, but the tele LOVES pedals. Telecasters are built for pedals. They're so clean.

I never interpose solid state circuits into my signal path but it does all go through an Eventide H3000 Harmoniser at the end.

I agree about your opinion on scratch plates by the way, I wish teles were released without them because the wear on the wood finish would look so much better after years of playing.

They’re pointless and a misnomer, aren’t they? I don’t have a single scratch around the strings of my guitars so they’re a solution for a nonexistent problem. I suppose they’re for punk rock thrasher-types.

As for Telescope <shudder> They have the ugliest headstock shapes ever a bit like this -

 

[Haruhiko]

One year, there was about 10 of us (and we became firm friends) he had EVO in his hand and unceremoniously handed it to me, sat down and started talking!

That's awesome. He comes across in interviews as a very down to earth and friendly guy.

‘Oh those are bends not slide.’ What a revelation!

One of the most interesting things he told us over the years is how his composes. He said he would spontaneously make up a little ‘dance sequence’; a series of steps, body and hand movements and transfigured those movements into music!

Bends are beautiful. They're underutilised and I've just learnt how to start at bends, releasing the string slowly to create a gentler pitch that dips onto the fret's natural note. It completely changes the feel.

I see his point regarding body movement, especially in his live performances playing Bad Horsie.

Spock’s Beard? Grateful Dead?… I can’t think of anymore…

I've dropped a few hints here and there. He was a very private man, as is his bandmate. This was around 2005-2006 if I recall. His bandmate was the one who gave me the Big Muff!

Sacrilege! You must learn music theory and then bend it out of shape!

Well my uncle was very theory oriented, and helped me here and there with simple composing and how certain notes or key changes affect emotions. He also introduced me to effects and gear dynamics that create experimental sounds.

His bandmate on the other hand gently encouraged a more intimate, personal approach - specifically with the guitar. Because of him I tend to not rush through anything. He taught me how to bend, hold the note with vibrato, and "bring out" the music without excessive additions. Very subtle.

I've since not touched much music theory and play a lot by feel.

I don’t have a single scratch around the strings of my guitars so they’re a solution for a nonexistent problem.

I guess it depends where you rest your pinky? Sometimes I play with my little finger resting just under the E string as a sort of anchor.

They have the ugliest headstock shapes ever

I agree, but they wouldn't be teles otherwise. Even a strat headstock would look weird on the body.

 

[Gyakuto]

That's awesome. He comes across in interviews as a very down to earth and friendly guy.

Hmmm, I’d say he’s very ‘business-like’. He has to do the EVO experience or whatever, he has a script, he’s effective at turning on the charm, he smiles but behind the eyes…

It must get tedious being around fans even if they provide you with a career.

Bends are beautiful. They're underutilised and I've just learnt how to start at bends, releasing the string slowly to create a gentler pitch that dips onto the fret's natural note.

Like a ‘ghost bend’?

I see his point regarding body movement, especially in his live performances playing Bad Horsie.

Ha ha, yes indeed. I think he was being more precise in his transmogrification of movement into sounds.

I've dropped a few hints here and there.

They’re lost on me. King Gizzard and the Wizard Lizard?

Well my uncle was very theory oriented, and helped me here and there with simple composing and how certain notes or key changes affect emotions. He also introduced me to effects and gear dynamics that create experimental sounds.

The ‘problem’ with the guitar is because of it’s tuning, it’s too easy to be bluesy in the key of E or A. That’s fine if you want to sound like 99.999% of other players and their music. What I like about Vai is his general avoidance of bluesy cliches accomplished by his theory knowledge. That sublime, otherworldly Lydian sound for example.

I guess it depends where you rest your pinky?

I don’t really…

Sometimes I play with my little finger resting just under the E string as a sort of anchor.

Oh that’s interesting.

I agree, but they wouldn't be teles otherwise. Even a strat headstock would look weird on the body.

The Tele’s profile looks like the British aristocracy!

 

[Haruhiko]

I never interpose solid state circuits into my signal path but it does all go through an Eventide H3000 Harmoniser at the end.

I just checked - it's an MXR analog delay (Carbon Copy). I also have an NS2 noise suppressor, which I've yet to try out properly!

 

[Gyakuto]

I love this out of the scale moment that’s pulled back into expected harmony.

 

[Haruhiko]

Like a ‘ghost bend’?

Yes! That's exactly what I'm referring to (I had to Google it).

They’re lost on me. King Gizzard and the Wizard Lizard?

, but

What I like about Vai is his general avoidance of bluesy cliches accomplished by his theory knowledge. That sublime, otherworldly Lydian sound for example.

Yeah he's obviously extremely talented and knowledgeable, but I feel like it's too much. Like Mozart playing a guitar. Sometimes chaotic and overly technical to the point of showing off. No one can play like he does, so he has the stage to demonstrate what he's capable of and I don't fault him for that but I feel like his music is a library of "look what I can do". I just don't feel much from his music. It's technically impressive but can come across as white noise sometimes.

Now that you've mentioned it, he does have a huge business ego, with him on his own album covers and stuff. But he's earnt his place through Zappa and the like, so props to him.

 

[Gyakuto]

Yes! That's exactly what I'm referring to (I had to Google it).

, but

Strawberry Alarm Clock?

Yeah he's obviously extremely talented and knowledgeable, but I feel like it's too much. Like Mozart playing a guitar.

Too many notes?

Sometimes chaotic and overly technical to the point of showing off.

It’s about contrast. Sometimes you need the chaos to contrast the sublime. The problem with bluesy playing is it’s all feely, tasteful bends etc and it becomes like eating cheesecake all the time; you start craving savoury stuff, even some bitter gourd!

No one can play like he does, so he has the stage to demonstrate what he's capable of and I don't fault him for that but I feel like his music is a library of "look what I can do".

I don’t think it’s showing off so much as complete expression. He’s able to do anything and express himself totally on his guitar and that means the everyday cheery self to the dark, scary, murderous, perverse sexual stuff we all have within us.

I just don't feel much from his music. It's technically impressive but can come across as white noise sometimes.

I can understand that. It’s not for everyone. I personally just don’t get U2, Coldplay, Elton John, Beyoncé, Lady Gaga, Dua Lipa etc

Now that you've mentioned it, he does have a huge business ego, with him on his own album covers and stuff.

Well he is a solo artist so he needs to get his identity across. Anyway, it’s all faceless digital downloads these days.

But he's earnt his place through Zappa and the like, so props to him.

I think he may have cultivated that public ‘distance’ from his mentor, Zappa. It’s good to keep a bit of distance from the public because they’re so fickle.

 

[Gyakuto]

Beautiful piece and a mesmerising watch

 

[Prince_Alarming]

And now for something completely different

 

[Gyakuto]

The whole album epitomises the mid-late 80s