Manufacture date is 1988. He would have had to buy it new. And for someone who was building a studio and using his father's, it might not have been an obscure piece of gear.

Gonna use it for mixing, sweeten mixes up with it.

u mean like, the space of the missing string?

you can just stand further away from the guy lol
plz clarfify

lololo

or get him some deodorant for his birthday

This is serious stuff guys!

This will just be his weird quirk that people remember him for when he becomes a famous musician. Like how Jimi Hendrix played his instrument upside down because he used a right-handed guitar when he was left-handed. Or how Sonic Youth uses fucked up alternate tunings.

People will be like, "that Elph guy, I want to only use notes above the 12th fret on the G, B, and high E strings to get that distinct Elphenor & the (Ironically-Named) Endorphins sound."

will definitely hit you up again

There isn't too much there's just enough after all that

Theres a very punk line from D. Boon from Minutemen where he describes the reason for dropping all the bass from his guitar tone

"we thought it was important that each instrument be its own sovereign nation"

Additionally basically anywhere where you'd usually see a power chord played with the low E string in a punk song, D. Boon instead plays a funk chord where you barre the 3 thinnest strings on the same fret

He was also a guy from California who was obsessed with British post punk and started wearing white dress shirts in imitation

elph have you heard protomartyr from detroit?

Anything but Metal

Their vocalist is meh, I feel like he doesn't add much, but I like them

its his group. he's 10+ years older than everone else

but... but... he's wearing sunglasses in a darkened room!

*shrugs*

As a vocalist I don't like him, I don't dislike him either.

If he's responsible for the sound outside of the vocals the Im obviously wrong here

no worries - was just curious waht you might think. i just heard about them and they're apparenltly a hot shit modern post-punk outfiit

They are checking all the boxes that's for sure

Intradesting.

:2thumbsup

Finally picked up an EHX Pitch Fork. Loving the shit out of this. Much needed in my chain. I loop and stack a lot so this is an amazing way to cut through my own bullshit and add higher (or in some cases lower) frequencies.

It's basically a harmonizer, pitch shifter, and whammy all in one nano pedal. I like it because it not only lets me go up to 3 octaves up or down but it also does 5ths. The tracking is the best in the game.

Replaces my envelope filter and is a wonderful add-on to the C9 organ machine. Can also do chorus effects.

^ sounds great.

it can be kind of tacky but it all depends on how you use it, i guess. i really dig how it can make a guitar sound like pedal steel - that gliding effect attracts me the most. the muff combination sounds great too.

Set it to two octaves up

Tune to F#

Remove A, E, and D strongs

Capo on 12th fret

Treble all the way up, bass all the way down

You're in bat country now. The sounds you play will be within the same frequency range as the clicks used in echolocation.

Pretty punk

I'm afraid to tune up though because I don't want the strings to pop and hit me in the face.

When I was 11 that happened to me and I didn't touch a guitar again until I was 18

I once had a shitty acoustic guitar that I couldn't even tune up to standard tuning without the strings breaking. I don't know enough about the mechanics of guitars to know exactly what was wrong with it that was causing that, or if it was fixable. I eventually just got a new one.

Even then, I've never used a tuning higher than standard before, and I don't even know if that's a common thing. I mean, whereas tuning a step or two lower gives you access to lower notes you wouldn't otherwise have at the lower frets, tuning higher would only give you higher notes you normally wouldn't have at the highest frets that people don't tend to use much unless they are soloing.

But I guess it might just be more of a psychological thing. If you are used to defaulting to some particular frets when coming up with musical ideas, then everything you write will be higher if you tune up, I suppose.

I pretty much just use tunings from C#-E. Sometimes drop tunings, but rarely.

Also, that Pitchfork pedal looks pretty awesome. I was thinking of getting one, but I'm thinking that a Whammy might suit my purposes better (I think I already discussed this in this thread). But the Pitchfork's smaller footprint would be a great space saver, too.

Here recorded this just now

Chorus on the chord picking guitar and just reverb on the scale playing guitar

Nice job!

You are already better at chord picking than I am, I'm really sloppy at it.

There are a few "wrong" notes in the lead I feel like (that's what it feels like to me, but maybe I'm wrong), and it doesn't seem that tightly synced with the rhythm, it sounds a little randomly thrown on. I have the same problem with making leads and chords meld. Counting and really listening to what you're playing over instead of getting too focused on what you're playing is a big part of fixing that.

I think a good way to make leads sound like they have more purpose and direction is to make a couple licks that you will repeat, and place them in key places. Then link them with the other noodly stuff in between that anticipate them. Construct the leads around the licks. Almost like leads and solos are mini "songs" with song-like structures that ******* repetition and patterns (though don't take this too literally; don't make the solo literally have a verse-chorus-verse-like structure [although I mean you could it's not like it would be inherently awful but I'm not saying you need to do that]).

Somebody else probably has better advice than this.

But good stuff! :2thumbsup

Yeah it was just one take for the lead improvising, I really ought to be playing to a metronome when I'm recording over myself like that

Oh, I see. Yeah, it's always a good idea to just do a random improvisation over the rhythm, play it back, and keep the parts you like for the refined lead part.

horrible advice

emotions or gtfo

You don't have to write down your solo note-for-note. Keeping musical ideas you like and using them as "anchor points" between more improvisational noodling doesn't sound like a bad idea to me. Especially if those anchor points are kind of like punctuation, like the parts where you want the solo to kind of transition moods.

I mean, how many solos on records you like are probably first-take random improvisations? Like okay sometimes you strike gold the first time ("The Aeroplane Flies High"), but you don't think musicians ever take their initial raw material and refine it?

I revise my advice. To make your solos tighter, work on your feels. Incorporate fifteen minutes of practicing feeling things into your practice schedule. It helps to get a friend to spot you so that he or she can tell you if you're feeling them right.

"A student once asked a wise old (blind) legendary jazz musician how to improve her modal playing.

The teacher turned to the student, gave a wry smile, and said, 'A baby fish turned to the papa fish and asked, "Daddy, what's water?" The papa fish turned around and said, "If you've got to ask, you'll never know!"'

The student asked for her money back, but the master said 'final sale.'

And that student's name? JIMI HENDRIX."

But seriously somebody offer some real advice because I was talking out of my ass and now I actually want to know

https://zippy.gfycat.com/FlamboyantU...atedGelada.gif

just play in time and use notes that don't sound like shit

:banging:

chord tones