Not yet, but soon...
posted on 11 Apr 2006 under category News
And that applies to many different things.
Misogyny 2 - Aerik is working on vocals for this as we speak.
Fucked Raw - ditto
Misogyny 1 - I just sent Aerik the final mix on this on Friday. He’ll be ready to start recording this soon.
Bellum - All bass is done. All rhythms are done. Only solos for ONE song are left.
The solo for “Nemesis” is what I did tonight. ALL damn night. I practiced it a few times, and on my last practice run broke a string on my V. The catch is that the solo, as originally written, had a few bars where I use the whammy bar, and the SG is a fixed bridge. And changing strings on a Floyd, even blocked, is a multi-hour process - so it was either waste a night of work or write a new section of the solo for the SG. All things considered I think the new solo turned out pretty well. Maybe a bit rough, but that’s what FX and the mix are for…
(My last note before being done on 4/13 was solos for Nemesis and The Final Day, so I guess The Final Day was the last one referenced above. I remember this night distinctly. The original solo I did on Nemesis back in 1999 was completely off-the-cuff, but I was super-happy with how it turned out. A big part of the work I did on this one song was going back and figuring out exactly what I did, and it took me something like two weeks of hour-a-day practice to get everything figured out and rehearsed so I could do it exactly right, down to the pinch harmonics and whammy bar dives toward the end.
I give it a run-through that night on the V (at the time, the only guitar I had a whammy bar on), and I go for one of the bends in the middle of the solo and *BOINK*. Every lead guitarist knows exactly that sound, where a wound string breaks its core but the winding still keeps it in place - instead of just breaking, you get that sound. I panicked for about 5 minutes, looking at the clock and trying to figure if I had time to change the strings, but ultimately I decided I didn’t and thus the limited time I had was better spent in working out a new second-half that didn’t depend on the bar. I don’t remember who I was listening to for fun at the time, but for some reason I got it stuck in my head how some guitarists will use short palm-muted runs in their solos for that rumbling-build kind of dynamic, so I thought I would try that - it would make up for being on a fixed bridge.
I really must release these one day, even if it’s just karaoke style.)