Freedom in the Strangest of Places... (original composition)

[duncann]

I would be very humbled for anyone to take a listen to my latest composition, Asymptotic Freedom, using an HD500X exclusively (no post processing in the DAW, except for the drum track, of course). Satriani/Vai type style with, I hope, my own uniqueness mixed in. I'm particularly fond of the ending (the last minute or so), so if you make it that far, more power to you! (You can always cheat and skip :) ). I tend to write longish songs. I'll probably still end up making very minor tweaks to the bass part, so it's not 100% done, but when it comes to stuff like this, is it ever really done?

Thanks for taking a listen, hope you enjoy, and have a great New Year!
 

asymptotic.freedom.zip

[Palico]

Nice work!. I think I'll download you patch too. Nice old school type of Shred type of tone.  What guitar is that paired with? A High output Humbucker?

[duncann]

Nice work!. I think I'll download you patch too. Nice old school type of Shred type of tone.  What guitar is that paired with? A High output Humbucker?

 

Thanks! The guitars are:

 

JEM 7V with evo pickups; lead track and distorted tracks use the bridge pup, clean tracks use 1/2 neck pup and middle pup (single coil). Volume always at max.

Ibanez SR1205E for bass.

[duncann]

I listened to both songs ..

 

you exposed yourself and so I give you my sincere and friendly opinion..

 

it's clear that you are a very good guitarist..

you have an excellent technique, feel, touch and sense of composition ..

many of your ideas are really very interesting..

 

I hear also some oriental influences here and there..

 

what I don't like so much is your almost continuous use of the wah which tends to dominate and characterize too much all the tracks..

 

apart from the above personal observation (just my taste), great job mr Mike

 

Thanks for the kind words. Appreciate it greatly.

 

For the wah, yeah, I guess it's personal preference. I might tend to overuse it, but only two of my songs so far use a wah, Asymptotic Freedom and Manifold Eternity (which I don't care too much about anymore because there's something about that song that I just don't like). Prime Vinculum uses a pitch shifter in a way to simulate feedback to give that extra emphasis on a notes end of life. And Radiative Embrace uses a tron up and phaser, so I guess that's a sort of wah, but with different type of feel to it. But I appreciate the advice about the wah in any event. I tend to overuse the whammy bar also, which I've learned to tone down somewhat, mainly because I keep breaking them (3 metal ones, and 2 carbon fiber ones so far in ~3 years).

 

Any specific influences you hear are likely the result of my unconscious mind acting upon what I think sounds good to me. The only exception might be an intentional use of middle eastern speckled throughout. Obviously Steve Vai and Joe Satriani are great influences as far as playing style goes.

[arislaf]

nice song man!!

[alienux]

Very nice tunes, duncann. I can definitely hear both some Vai and some Satriani influence there.

[taylorbeats]

Really like.  Little "seasoning" (don't use too much) and it will be stellar.

[duncann]

Really glad you all like it! Awesome!

[Palico]

Cool I learned something new with your custom tone! The DBack one you use the Pitch glide on just one side ever so slightly. It really make the gutiar sound bigger for the Via/Satch type of tones. I always knew those guys used Harmonizers and such but never really understood how or why (except for songs like Bad Horise where it's obvious). Thanks!!!!!!!!!!!  Now to build a whole set of mine around this new (to me) concept.

[bjnette]

Interesting theme of  Asymptotic Freedom, very Vai in using the whammy and wah to reach notes.

It is a style that grows on you the more you hear it. I understand  it can feel a little foreign if it is the first time you have listened to this style.The freedom is of course you are not just bound to the western tempered scale. 

 

There is a lot going in both tunes, jammed packed as a production and really the only critique that could be made as the playing is stellar

 

I know it is not easy to discipline your speed and ability and re root your next piece with a melodic discovery.

Just an idea for future pieces. Satch is a perfect example of melody over technical excellence and has out sold Vai regarding Solo releases.

 

This is only if you want your material to be more accessible as it is above the comprehension and understanding of us mortals.

 

But mostly I'd advise giving the tracks over to a Producer to play with.

Offer the tracks up on a recording / mixing forum and let others take it to the next level!

 

I say this as it is time for you to get discovered 

[duncann]

Cool I learned something new with your custom tone! The DBack one you use the Pitch glide on just one side ever so slightly. It really make the gutiar sound bigger for the Via/Satch type of tones. I always knew those guys used Harmonizers and such but never really understood how or why (except for songs like Bad Horise where it's obvious). Thanks!!!!!!!!!!!  Now to build a whole set of mine around this new (to me) concept.

 

The pitch glide appears during the last minute of the song and isn't part of the lead track. Just a typical rythm backing track, and the lead track happens to play along with it at the beginning and end (of the last minute). It's a way to get a wider stereo separation, with a natural sounding chorusing effect, without using any double tracking techniques in the DAW. So any sort of wideness that's perceived for the lead track might be because of the heavy delay mix for the lead patch in combination with playing style that synchronizes the musical part to the heavily delayed signal. No idea if that's what Vai uses in Bad Horsie. My guess is it's probably some post processing.

 

There are several ways to get this with using only the pod, but the pitch glide sounds best to me.

 

You can use an effect with an adjustable time parameter (delay and reverbs in particular) before the mixer and in one path. It requires the mixer balance controls are >0%L and >0%R (likely 100%L and 100%R). It's a way to have the signal separated by at least 20ms (in the case delays); somewhere between 20ms and 40ms usually sounds ok. Delays should have the mix at 100%, feedback at 0%, and delay time to your liking. Not all reverbs work ok for this, but some produce interesting results. Put the mix and decay controls at 100% and 0%, tone where-ever, and adjust the pre-delay for separation.

 

You can also use some delays after the mixer, which takes the mixer balance controls out of the equation. the ping-pong and stereo delays work well for this.

[duncann]

I know it is not easy to discipline your speed and ability and re root your next piece with a melodic discovery.

Just an idea for future pieces. Satch is a perfect example of melody over technical excellence and has out sold Vai regarding Solo releases.

 

This is only if you want your material to be more accessible as it is above the comprehension and understanding of us mortals.

 

But mostly I'd advise giving the tracks over to a Producer to play with.

Offer the tracks up on a recording / mixing forum and let others take it to the next level!

 

I say this as it is time for you to get discovered 

 

You aren't kidding about writing a piece that is all just simple melody. Sometimes when I write some parts, they start out as simple melodic sections, but quickly evolve to something more complex. And after hearing the simple vs complex parts, it's no choice for me but to take the more complex. I guess that's where the discipline comes in by learning to stop earlier and move on. By the way, none of the more speedy parts are particularly easy to play. I often spend hours upon hours, usually days, being able to play something that I hear in my head. In fact, I've worn a permanent flat spot on the tip of my middle finger on my right hand. One thing that terrifies me is playing this stuff live. Very difficult. Something I really have to learn, because I often suspect that Vai/Satriani deliberately hold themselves back for the sake of live performance. I used to perform live when I was younger and basically I suck as a performer.

 

I completely agree with your assessment of Vai vs Satriani. I've always found Satriani easy to listen to on the first hearing. A lot of Vai's stuff takes multiple listenings to start to 'get' it.

 

One of my motivations for writing the way I do and the subject matter is to maybe spark some curiosity in people about the universe around them. Maybe someone will take it upon themselves to start looking into the subject matter my songs are about. It opens up a entirely new perspective in one's mind.

 

As far as taking it to the next level, not quite there yet. I still have more songs to tell on this album.

[radatats]

thanks for sharing, very nice work and great playing.  I am glad someone else mentioned this first as I am loath to criticize anyone that puts their work on display but...  your technical excellence needs to be balanced with a melodic hook, something for the listener to grab on to and remain rooted throughout the song.  Satch is great for that; there is a recognizable hook to every song.  Just something to think about going forward... less is often more.   ;)

[duncann]

thanks for sharing, very nice work and great playing.  I am glad someone else mentioned this first as I am loath to criticize anyone that puts their work on display but...  your technical excellence needs to be balanced with a melodic hook, something for the listener to grab on to and remain rooted throughout the song.  Satch is great for that; there is a recognizable hook to every song.  Just something to think about going forward... less is often more.   ;)

 

Something I've been told before. Easy said...

 

I really do appreciate any criticism. I can keep trying and trying. I'm very open to it and not one to take it the wrong way, at least I hope so. :)

 

And I guess that's the genius of Satriani, being able to grab you and keep you where he wants until he's done, and in a deceptively simple way.

[bjnette]

I get it about the drilling or practice of certain parts to attain the dexterity you desire to match your idea your creating.

 

I have a classical guitarist friend who practices his compositions ever so aspiring agility in connecting phrases.

 

This is perfectly natural and I really do not want to take this away from you as it most likely inspires.

 

Attaining speed and agility is a goal in most any field. Keep on it for sure!

 

But as you said  often you begin with simple melody and it grows from there into a more challenging part.

 

This is natural but all I am really suggesting is to let the audience in on it a little.

 

It is kind of like sharing the journey rather than just the final destination. LOL

 

On performing; while recording you can play beyond what is perhaps quite impossible to deliver live, therein lay your answer.

 

Also work out who your audience is. Is it is exclusively for other musicians?

 

It also pays to relisten and I gotta say it is a different lead take on Asyptotic. 

I take it all back.

Keep up the good work!

[duncann]

I'm reminded about a song Satriani wrote, Crushing Day, where he says he wrote it while sitting down. And when he tried to play it standing, he had problems during some parts that boiled down to him not being able to play it. Oops. :lol:
 
 https://www.youtube.com/watch?v=g-lT2wvJt1M

 
Unfortunately for me, I write all my stuff sitting down. Never even tried to play it standing. Perhaps I should try.

[bjnette]

HaHAhaLOL

Not to worry, I like it.

Alot!

Well Done Dunncan Good stuff!

[Palico]

The pitch glide appears during the last minute of the song and isn't part of the lead track. Just a typical rythm backing track, and the lead track happens to play along with it at the beginning and end (of the last minute). It's a way to get a wider stereo separation, with a natural sounding chorusing effect, without using any double tracking techniques in the DAW. So any sort of wideness that's perceived for the lead track might be because of the heavy delay mix for the lead patch in combination with playing style that synchronizes the musical part to the heavily delayed signal. No idea if that's what Vai uses in Bad Horsie. My guess is it's probably some post processing.

 

There are several ways to get this with using only the pod, but the pitch glide sounds best to me.

 

You can use an effect with an adjustable time parameter (delay and reverbs in particular) before the mixer and in one path. It requires the mixer balance controls are >0%L and >0%R (likely 100%L and 100%R). It's a way to have the signal separated by at least 20ms (in the case delays); somewhere between 20ms and 40ms usually sounds ok. Delays should have the mix at 100%, feedback at 0%, and delay time to your liking. Not all reverbs work ok for this, but some produce interesting results. Put the mix and decay controls at 100% and 0%, tone where-ever, and adjust the pre-delay for separation.

 

You can also use some delays after the mixer, which takes the mixer balance controls out of the equation. the ping-pong and stereo delays work well for this.

 

Yea what I learning was using the sepereate track post process. The slight detuning on just one side does have a chorus type of sound but it doesn't have the swril of chorus, which makes sense. But it make the signal sound bigger, like you said sort of like a double tracking.  What I particular found interesting was that it works totaly different than the mix control. I would have thought the Mix set at 50% would have done that same thing but that I set it up (with just one path) that way and it totaly sucked (on my rig anyway). 

 

I setup a similar patch for the DT. I had to adjust mixer controls to get it right (to my ears) as with the DT it's sumed back to mono, but it still worked well. Yea a delay on one path but not the other seems it could create an interesting effect too.