Happiness is…receiving the following text:
"whats your email!? I wanna send you a song i did! I WANT YOUR SAX ON IT!"
After transcribing some Snarky Puppy, I felt the need to explore an auto-wah on my saxophone. I don’t equate wah with Snarky Puppy but that’s how my brain works. What I have been thinking about is: “What else can I explore?” There are so many sounds and colors and some work really well together. I’ve always enjoyed wah on saxophone and I’ll be working with this tone some more.
As I mentioned yesterday, I’m asking myself if I need/want a delay pedal on my saxophone. After practicing today, I know that I like delay on the EWI (wind synth) but I’m indifferent about it on the saxophone. I like the AdrenaLinn delay and having the filter effect hanging around but I’m liking the sound of the saxophone upfront and dry. I still want to try an octave pedal and explore that effect on the saxophone. I had one several year ago and I enjoyed what it did. Stay tuned.
I’ve been thinking lately about the effects I add to my saxophone. 10 years ago, I was swimming in effects and a few years ago I reduced down to just a delay pedal. I added the AdrenaLinn pedal a year ago. Now I’m questioning the delay pedal. I’ve been thinking about replacing the delay pedal with an octave pedal. A year ago, I met Charlie Hunter and he said to me: “do you want to know a secret?” I said “yes” because I wanted to hear what he had to say. He said “play bari sax; it’s the “new” saxophone. You get to be a part of the rhythm section and a melodic instrument and you can solo.” I understand where he’s coming from; low note instruments are “in” nowadays. I just bought a tenor and a bari isn’t in my future but an octave pedal would put me in that space. Plus I could blend the octave below with the dry sax and thicken up my tone. It could be cool. I could mute the dry and blend the octave below with the filtered sax from the AdrenaLinn. There’s a lot of possibilities. I just need to remember to not let the effects play me. I’m a much better player than I was and there’s no need to hide behind effects. The saxophone alone is a great sound: I just enjoy what electronics can do to an acoustical instrument. I’ll keep you posted on what I decide to do.
Tonight’s quick idea. I was experimenting with my “live” sound and compressing the recording send. After an hour of feedback and noodle’ing, this riff was created.
I recorded this a few days ago but I wasn’t sure about it. After listening to it tonight, I decided to share it. Saxophone with delay, drum machine with distortion and at the last minute: EWI.
A track from this past November re-imagined…or just developed. The track is performed live (as all of my tracks are with the exception of New Directions that I did earlier last year). My instrumentation is a tenor saxophone, drum machine, filter pedal, delay pedal and switcher. The performance is captured on a stereo digital recorder: no overdubs or editing. Part of the joy besides playing the saxophone is the coordination or tap dance routine on the pedals. I’m looking forward to performing some of this material later this year.
I haven’t posted in a while. I rearranged my pedal board, I love my new microphone and I’ve revisited two great books.
Guillaume Perrett in his element. Great playing with great effects.
I really enjoy Guillame Perret’s playing. He’s known for his electric saxophone but in this video he shows that he’s fully capable of playing without electronics.
This is the microphone I’ve been talking about for a while. I was finally able to get it and tonight, I offer my first sampling of what it does. In addition to the microphone, I’m blending the delay, the filter, switcher and drum machine.
I’ve wanted this microphone since 2009. In 2001, I bought the LCM89. It’s the condenser version of this microphone. Great mic except in loud bands it picks up everything and amplifies everything on stage. I dealt with it for years but in 2009, I was in a really loud band. Engineers were turning me down in the mix because I was amplifying the guitars and drums. I thought about this mic except SD Systems was out of business. For years I checked their website; nothing. Then, in 2012, there was a new website. Serge Schrier was back in business. He told me in 2002 that if I were ever in Amsterdam that I should visit his shop. In January of 2013, I made a visit to his shop and saw where the magic was happening. It’s taken me months to get the money together to pay for the mic but it was worth the wait. It arrived in the mail today; it was like Christmas (pun intended). I’ve been recording for the past few hours and dialing in EQ settings. I’m so happy on so many levels. I’m happy to get my movement back. I had been playing into a Sennheiser 935 on a mic stand and I learned that I like to move around…a lot. I’m also happy that I don’t need to take a mic stand with me anymore: less gear makes me happy. I also look forward to play this live with a REALLY LOUD BAND!