Yeya. I could have certainly played the added part more cleanly than i did, but i wanted more to get them done quickly and in one take from front to back, to reduce the overall number of tracks i had in there playing at once a bit.

And that harmonized thing, originally, i was going to add to the main riffthing to make it longer and less repetiive, but as i got to thinking, all of the parts i was messing with to add to it, were harmonizing with it, so i just said fuck it, and played one of them over the original instead of after it.



Yarp, i figure i will just sort of play through them in order and if anything seems useable i will work on that section for a bit, more or less as this one went.

I just need to get into a better habit of putting things together and putting them slightly closer to complete ideas than i have been doing for the last couple years.

I am getting sick of the terrabytes of single guitar halfthoughts i have been amassing. Especially, when i consider that when it comes down to actually recording over beats, i write totally different new things on the spot for the purpose. That pile of halfideas has basically been useless to me. Also, in general, i simply need to work on mixing with drums and bass and all, get it to a place where i feel like i have better control over the process and the output.

Though, i don't know in how much out of the twenty minutes of crapbeats i will find anything useful in my brain for to add beyond the ghettobass currently sitting there. Some of the bass needs a second taking anyhow. But it will be something for me to fuck with that is not just untethered-to-any-structure-at-all guitar shittery. And it is that change that i require of soundthings at the moment.

But for today i don't feel like doing any real thinking.

So i give you:

plikkle.

I like the noises you're making in the newest clip. Especially the bass.

The bass is cool- I like the way the dissonant notes are left to ring out against each other. Curious to see where this goes.

If I didn't know better, I could be fooled into thinking this was an actual band generating these noises vs. one guy. It works like that somehow. Maybe it's the realdrums aspect?

Prolly: realdrums + sloppiness.

I put stuff on like five other drumbits, but like i said, my brain really doesn't want to do any thinking, so it was moastly just cheesy solos.

The new song has a simmering feel, reminiscent of Mahavishnu, Meeting of Spirits, after the intro and before the shredding, to me

I would actually be way into Mahavishnu Orchestra if it had no shred in it. They often had the vibe, they always had the drums. I just wish McLaughlin didn't fuck up the rest on every tune. It would have made for awesome spacemathrock.

I have a hard time with his playing. For all the cred he gets, he sounds like a noodley high schooler. The opinion I just voiced reached Malmsteenian proportions of outrageousness, but there it is.

I actually totally agree. It exposes me as someone who "clearly just doesn't get it" but way too much of his playing is ugly and terrible, but not in the good ways.

Anyhoo, i was listening back to the couple of things i played with yesterday before giving up on the day.

I kind of like this even though nothing really happens and it is a mess:

Nothing Also.

(Or maybe because nothing happens and it is a mess? )

And this should have been a sign to me, that i didn't feel like going back in to make a second take with the timing and notes at least closer to being right:

dunno.

Though i kind of like the crawly approach to the riff.

But, it was not in fact until i got to this one that i was able to realize/see clearly, that i was done for the day:

t i b.

I was too lazy to think about what key it was in(and so i keep getting caught out by the last two bass notes) or anything, and so i just played blind. Amazingly the two main cheeseriffs popped out of nowhere and are pretty close to fitting over the other notes, hence i kept going back to them.

I consider this to be joesatriani bad, as far as cheese content. And if i had figured out what key it was i probably would have been more able to not stumble all over everything i played. Anyhow, it shouldn't be anything like this treatment at all, no solos, no hoppy cheeseriffs. The bassline deserves far better.

I will go back in there some later date and make it right.

Re: the third, I can hear the Joe Satriani there. It's the phrasing. It would need a different bass line and a straight-ahead plainrock beat to really Go There, though.

The second, I think has a lot of potential. Though I think of the riff more as slithery? I like the pause before the... last note of the riff. Antici-pation and all that.

The first, the guitars contrast really strongly against the drums, to me at least. The drums seem more bombastic while the guitars just float there. That's the sort of space-guitar thing that I'm not entirely sure needs to go somewhere. It can keep on floating there, depending on context.

The second one seems like an almost-song. It seems to have the most potential of the three in its current form.

I hear the phrasing thing a little. Even more so though for me though, it is the terrible joyous note choice that sticks out from that very first bit though. I hate the way that sounds so much.

The first one, i won't do much else with, that is about what i had in mind for it when i cut the beat out of the really long original drumtrax to hang on to. I have always liked the idea of one part of the noise making like it is trying to start a fight, while the rest of the 'band' is totally spacing out into lalaland and quiet thinkings. It would wind up sort of as an interlude between two things which would (in theory) make more sense than it. It would be like a passive aggressive argument. One side or the other would win and the next thing would either be quiet, or the fight would break out.

The second one is definitely the only one of the three i intend to spend much time with, it has things that can go further places, and the drums go on into a slightly different thing a bit after where i faded out. Out of all of the ones i did in that one sitting(er. standing), there are actually two others i didn't poast that i also like, but i want to fuck with them more before i put them up, because i think i want to to clean up/redo some bass bits onnem and secondtake the geetars a bit. But yeah, the two i didn't poast, and "dunno" i will mess with more.

I won't touch the shittysolo one until it has been long enough that i can think of it doing something other than that crap. I had a direction in mind for it originally, i just don't remember the angle, and the badguitars didn't help jog my memory none.

"Terrible joyous note choice"- I like that description. That sort of instrumental rock is particularly prone to that. (I fine Vai insufferably perky.) I've nicked a lot from Satriani over the years, phrasing especially, but I wouldn't go that far. You, however, did.

Re: the spaceguitars-over-rockdrums, I think that's a good way to approach what you're going for conceptually there. Something more structured or a call-and-response kind of thing would be too prog-rock.

I'm curious to see where the second one goes. The bass seems to be heading somewhere it hinted at prior as it fades out. And the main riff is badass, which, from a guitar-nerd perspective, is a perfectly valid thing to base a song around.

This thing (the original long-ass twenty minute just-DnB one) came up randomly just now in shuffling my sillylibrary of sounds, and it occurred to me that i should have continued along the path which momentum had been carrying it, instead of abandoning it.

I am getting a bit terrible with the idea abandonment thing lately.

Your ideas are going to have issues because of this when they grow up.

Forealz. I wonder if this all will result in their transformation later in life, into idea strippers and/or idea criminals.

That's at least more interesting than clingy idea codependents who can't form lasting idea relationships or neurotic idea workaholics married to their idea jobs.

I suppose so, but one simply cannot help but wish a better idea life than one's own, for one's idea offspring. Nor can one help but feel somewhat sadresponsible for encouraging the descent, to a worse one.