Re: King crimson stuff

[Catilyne <catilyne@icicle.net>]

At 12:57 PM 1/7/2004, Paul Greenstein wrote:
>I remember reading various guitar geek interviews with Adrian Belew 
>around 
>the time those albums were released. I think a big part of his technique 
>was to use fairly extreme equalisation to encourage particular harmonics 
>to feed back, plus *really* getting to grips with positioning himself 
>relative to his amp(s).

One more wrinkle which may not be easily duplicated: For years, Belew 
relied on the same beaten up vintage 60's strat, which had a tendency to 
feed back in really interesting ways (also probably didn't hurt that 
Adrian 
idolized Hendrix while growing up).

Evidently, it was this particular style of feedback that landed him his 
first professional gig with Zappa.  (Aside: according to some of Belew's 
interviews, he actually had blown the audition entirely, where he was 
asked 
to try out with Zappa and the rest of the band.  Before leaving, Adrian 
pulled Frank into a room with just the two of them and cascaded him with 
ten minutes of ear-shattering guitar solo feedback.  After that, he got 
the 
job.)

I don't believe Adrian really used any other guitar until he picked up a 
second vintage strat around the time of his first solo album, "Twang Bar 
King" (released between "Beat" and "Three of a Perfect Pair", if I 
remember 
correctly).

Also, I've heard rumors that later on there may have been a 
Sustainiac-like 
system or a compression circuit installed into that guitar body's 
electronics.

So, some of those high feedback notes may not be readily reproducible 
because they're a function of that particular piece of wood under Belew's 
fingers.  Not impossible to recreate, mind you, just a bit more difficult.

>By the way, have a listen to 'The Great Curve' from Talking Heads 'Remain 
>in Light' album. Great feedback solo from Belew.

Good one.  Similarly, I'd also recommend 'Two Soldiers' from David Byrne's 
soundtrack for the broadway performance of "The Catherine Wheel".  I'm 
especially fond of the way that, during the solo break, Belew obviously 
took several different feedback takes.  Then, in true Byrne/Eno fashion, 
they were edited into quick machine-gun-like clips to form a single guitar 
solo that is truly twisted and genuinely neat.  I believe it has to be one 
of the first true examples of granular/glitch guitar, and probably done 
entirely with 1/4" tape.  ;)

         -c-

_____
"i want to reach my hand into the dark and *feel* what reaches back"
                                                 -recoil