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PostPosted: Sun Jan 18, 2015 4:47 pm 
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Alright, Kap. I'll go easy. :)


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PostPosted: Sun Jan 18, 2015 4:59 pm 
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downer mydnyte wrote:
Alright, Kap. I'll go easy. :)

I know it's hard, but you're a good man DM. :wink: 8) :)

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PostPosted: Sun Jan 18, 2015 8:46 pm 
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downer mydnyte wrote:
polydigm wrote:
So DZ is pretty free with the F word himself, but you can't say it on his forum?

Really?
One more reason to not support him.

The anti-zappa.

I went through that phase five years ago and commented on it on DZW. I eventually got banned from the site for my venting which related more to my personal frustrations than anything else. Dweezil does a great job in playing the music and I'll take what I can get and be glad for it. Dweezil isn't his Dad but he is definitely his father's son. I've always liked Dweezil's music ever since "My Mother is a Space Cadet" when he was 12. I've never bought into the "Accept No Substitutes" crap though.


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PostPosted: Wed Jan 21, 2015 12:23 am 
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Hello Everyone,

I hope all is well with you! Lots of things are happening in my world at the moment. The most exciting new changes are about to take place in my music! My new album is reaching the final recording stages. I have completed all of the basic tracks, and my lead vocals.

What is leftover you ask?

Several tracks of background vocals, a few more keyboard parts, some percussion (tambourine and shaker... possibly cowbell!) and last but not least all of the lead guitar parts. That will be my favorite part of the process. I'm saving the best for last!

You may have noticed the photos above. I believe this guitar is going to change my guitar playing drastically over the next few years. It will first become apparent on my new record.

What are the changes you ask?

It will make many things possible that were not possible for me previously. I think the best way to describe what it is that I'm imagining is that the notes on the guitar will become elastic. Both chords and lead melodies will have this new "elasticity" because the guitar is fretless.

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I've been waiting over a year for this instrument to be completed. It is a unique custom guitar specially built for me. It is a fretless SG made by Gibson that includes 2 very important modifications. The first is Auto Tune for guitar by Antares. This micro computer device processes each string individually with extremely low latency and can not only keep your guitar in tune; it can instantly tune the entire instrument to other tunings, open string chords and more. In fact it can process each string individually twice, allowing for 12 string sounds or even baritone 12 string. Most importantly however is the fact that since this particular guitar has no frets it will enable me to do some physically impossible things. Typically a fretless guitar would be impossible to use for chords. Anteres Auto Tune will allow me to play chords on fretless guitar and venture into new musical territory. This is very exciting and inspirational! I anticipate pedal steel type harmony slides and other unique chordal sliding techniques to develop. But that's not all...

The other component of this guitar that will propel me in new territory is the Sustainiac. It will allow for infinite sustain with the ability to switch between the fundamental and other partial harmonics.

What does this mean?

I can control the octave of the feedback generated and I can slide the notes on the guitar smoothly without effortless sustain. This will all translate to many new creative approaches to lead guitar for me. There are so many variations of dynamics to be developed.

The first chapter will be written on this new album. I have 2 instrumentals I plan to use the guitar on. One is currently called "Truth" and the other is called "Funky 15." The titles may change by the time the record comes out. One thing is certain though, this guitar will be a big part of the sound of those 2 songs. I anticipate a whole new melodic style to develop over the next few years. A more vocal approach to melodies and some totally unique tones. For me this feels like the equivalent of walking on the moon.

In any case, I'm very excited about the record and all of the cool things I've been able to incorporate into it. I've got live string quartet and brass and woodwinds (recorded by Geoff Emerick), special vocal appearances from some extremely talented people (To be named later!) and I even have my wife Megan, my daughters Zola and Ceylon as well as my step daughter Mia all singing some background parts on the song "On Fire."

I can't wait to share the record with all of you! The countdown to completion is on! Then we hit the road in March! So much to do and so little time! See you on the road!


Regards, DZ
New Record! http://www.pledgemusic.com/projects/dweezilzappa

Found here :arrow: http://www.dweezilzappaworld.com/posts/ ... bum-update


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PostPosted: Wed Jan 21, 2015 6:13 am 
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That right there is a beautiful instrument. Although autotune on a fretless does sound a bit like cheating. Nothing develops your ear like playing on a fretless.

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PostPosted: Wed Jan 21, 2015 8:46 am 
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BBP wrote:
That right there is a beautiful instrument. Although autotune on a fretless does sound a bit like cheating. Nothing develops your ear like playing on a fretless.

That's totally true, but hella convenient!

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PostPosted: Wed Jan 21, 2015 6:58 pm 
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tiboudre wrote:
BBP wrote:
That right there is a beautiful instrument. Although autotune on a fretless does sound a bit like cheating. Nothing develops your ear like playing on a fretless.

That's totally true, but hella convenient!


Playing a fretless develops your skill at hitting the notes without having to look at/feel frets but I don't think it develops the ear any more than playing a fretted. Listening develops the ear. Do you listen more with a fretless? If so, it's not the instruments fault.
:wink:


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PostPosted: Fri Jan 23, 2015 3:25 pm 
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I have no interest in that guitar whatsoever. I find it a wee bit creepy. The thing I like about playing an acoustic guitar is it that is just me that's playing. Yes, I use some pretty sophisticated effects sometimes when using an electric, but autotune?

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PostPosted: Mon Jan 26, 2015 1:34 am 
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Poly - I think on the Goose I told you about that visually impaired viola player who had to pretend she could see well in order to get through music school? She has perrrrfect pitch - she can hear pretty much up to the herz. When you're teaching viola to children, as she does, that can get annoying. You don't develop that skill with a piano, also because pianos just go out of tune over time and you get accustomed to an instrument being flat. With a fretted guitar you'd always put your finger near the fret if you're well-taught - with my fretless bass, especially if I haven't played for a while, it is always a bit of fiddling to find the right notes. On my bass only the positions of the 1rst, 3rd, 5th (7 9 12 15 17 19 21 24) are indicated and anything inbetween requires an ear to correct it.

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PostPosted: Mon Jan 26, 2015 2:55 am 
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I have a very nice Carson Crickmore fretless electric acoustic....It sounds beautiful and has a great tone, but ol' cricky almost ends up in the fire whenever I play it.......I need frets :oops:

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PostPosted: Mon Jan 26, 2015 4:22 am 
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Dweezil seems to have inherited the Sy Borg gene.

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PostPosted: Mon Jan 26, 2015 6:55 pm 
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BBP wrote:
With a fretted guitar you'd always put your finger near the fret if you're well-taught - with my fretless bass, especially if I haven't played for a while, it is always a bit of fiddling to find the right notes. On my bass only the positions of the 1rst, 3rd, 5th (7 9 12 15 17 19 21 24) are indicated and anything inbetween requires an ear to correct it.

If you're using your ear to correct it then it is already too late to correct!
Try visualizing it.


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PostPosted: Tue Jan 27, 2015 6:03 am 
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I don't play that thing on stage. Neither would Les Claypool play his fretless 6 string on stage - come to think of it I've never seen him use a fretless live, does he even? Those guitars - you can pick them up but you'd need a lot of exerise to master it.

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PostPosted: Tue Jan 27, 2015 9:26 am 
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BBP wrote:
I don't play that thing on stage. Neither would Les Claypool play his fretless 6 string on stage - come to think of it I've never seen him use a fretless live, does he even? Those guitars - you can pick them up but you'd need a lot of exerise to master it.

Les has used his fretless 6 string live ever since the 'Sailing The Seas Of Cheese' tour. I've seen 'em 5 times and he always busts it out for Jerry, Mud, Blaileen and others. Before he plays it he always says what a beast it is to tame.

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PostPosted: Tue Jan 27, 2015 9:29 am 
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Dweezil said earlier that he was going to be able to play Indian/Persian quarter tone material. I imagine this guitar will do that for him, even correcting the pitch to fit the scale or any errant notes. Of course, none of this matters if his songs aren't good; no amount of on-the-fly fixage will mask a mediocre song.

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PostPosted: Tue Jan 27, 2015 10:01 am 
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Fretless guitars can do funny stuff. I don't know, however, how much autotune is a good or bad thing. Since it is electronic, I guess it is optional. I would never dare going into that territory, but some has done intereresting stuff with it:

Dave "Fuze" Fiuczynski, e.g., plays a double neck guitar, where the upper guitar is fretless. He seems to be using it a lot for micropitch stuff.

http://youtu.be/AaKZChNpKPM

(Note that he likes it for the ability of sounding out of tune!)

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PostPosted: Tue Jan 27, 2015 12:54 pm 
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coevad wrote:
BBP wrote:
I don't play that thing on stage. Neither would Les Claypool play his fretless 6 string on stage - come to think of it I've never seen him use a fretless live, does he even? Those guitars - you can pick them up but you'd need a lot of exerise to master it.

Les has used his fretless 6 string live ever since the 'Sailing The Seas Of Cheese' tour. I've seen 'em 5 times and he always busts it out for Jerry, Mud, Blaileen and others. Before he plays it he always says what a beast it is to tame.


He's never brought it to Europe then? We're SO left out! :(

There's a problem with Autotune that it doesn't handle all overtones. Or even most overtones. That's why singers who use it can sound horribly flat (Rebecca Black - Friday clearly shows it going wrong). Not sure how that'll work on a guitar.

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PostPosted: Tue Jan 27, 2015 3:02 pm 
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BBP wrote:


This is why I could not be a music teacher. I could teach it as a one on one tutor with someone talented but not a general class. I don't have absolute pitch, although I often remember tunes in the correct key, but I have very strong relative pitch. If an ensemble is playing well in tune with each other I'm fine. If one player is out of tune with the rest it's painful. If one player is playing on an out of tune instrument it's even more painful. An entire ensemble, badly tuned and not playing well is pure agony.

I guess it's something to do with playing guitar. The way the frets are organised compared to the way overtones occur naturally is not a perfect match. Add to that the fact that I spent many years only able to play mediocre quality guitars. Also, if you don't want to be changing strings every day, they don't stretch evenly. I've always worked very hard to get any guitar I play in tune all over the neck which requires a lot of effort and compromise. It requires more than just an electronic tuner. After using one of those some tweaking is always required. To this day I use a single 440Hz tuning fork and do it all by ear. Acquaintances over the years have often found me a pain in the arse because I'm so fussy about tuning, but what can I do if it doesn't sound right? This is also one reason why I don't like my strings too light.

None of this of course means that I don't like dissonance. But that has boundaries as well that can be lost with bad tuning. Controlling and using dissonance for effect, or getting it because you don't know what you're doing, are two entirely different things. My latest acoustic is a Cole Clark Fat Lady. It's a beautiful guitar with a very deep and rich sound, and the easiest one to tune I've ever had. But even with that I get lazy, which is a catch 22. I don't change the strings often enough and I have to work harder and harder to keep it in tune as they wear out until I finally give in and change them.

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PostPosted: Tue Jan 27, 2015 4:42 pm 
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I wonder what kind of person teaches a group of kids to play recorder. They exist, those people - and by Frank must they suffer.

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PostPosted: Sat Jan 31, 2015 6:44 pm 
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BBP wrote:
I don't play that thing on stage.

Ah. I see. Well, there's your problem. You have no incentive! :wink:

polydigm wrote:
Controlling and using dissonance for effect, or getting it because you don't know what you're doing, are two entirely different things

It's quite often the ones who "don't know what they're doing" who end up sounding more inspired when utilizing dissonance. That's because they do know what they are doing- they are playing by feel. By ear. By instinct. Running on instinct is "knowing what you are doing". Are you going to tell them they don't know what they are doing if they don't use the same system that you use when creating their own music?

As you know, music was a mode of expression long before the academics swooped down on it and created their verbiage for it. Knowing you are playing what we call a Bflat7sus4 chord is far less important than hearing those notes and knowing what you want to do with them.



polydigm wrote:
Dissonance... that has boundaries as well

...For you. 8)


"They teach you there's a boundary line to music. But, man, there's no boundary line to art" - Charlie Parker


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PostPosted: Sat Jan 31, 2015 6:51 pm 
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Pfft. Big fucking deal. I have just developed an auto-play guitar that allows me the freedom to just stand there and look like a fretboard genius. No fingering necessary! (that's what she said)


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PostPosted: Fri Feb 13, 2015 12:45 pm 
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PostPosted: Sun Feb 15, 2015 9:40 am 
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Cool story from DZ

Album Name
Hello Everyone,

I have decided on a name for my album. It’s a Sicilian name, in fact it comes from the name of the street in Partinico Sicily where my father’s family emigrated from. I visited that street a few years ago and it left a strong impression on me. Leaving that street for the last time meant a new beginning for my relatives. It had that effect on me as well. At once I was in touch with my connection to the past and inspired for my future, ultimately creating a new beginning for myself. On this album I explore an entirely new musical landscape while utilizing skills I’ve sharpened over the past decade away from my own music. I’ve blended everything I’ve learned in a lifetime to make this record.

The street was named “Via Zammata.” It’s difficult to translate the meaning in English because it is a description of the sound of playful children’s footsteps in a rain puddle. I loved the idea that the street was named after a unique sound. In 2013, the city of Partinico proudly renamed that street Via Frank Zappa. It is fitting that it could now still be considered to be named after a unique sound, the sound of my father’s music.

I chose to name my record “Via Zammata” because it represents a step forward for me as well as a step back to my roots as an individual and as a musician. I believe that journey is artistically expressed in the sound of this new record and I hope you will all enjoy it. I’ve certainly enjoyed reimagining my own music after all of these years and involving many talented folks to help me and of course all of you in the process as well. The experience has been so rewarding that I can’t imagine making a record in any other fashion going forward.

I’m almost finished with my job, next it will move on to some incredibly talented mix engineers or shall I say “enginEARS” because these guys are amazing at what they do and they will bring out every subtle detail in the music. Thank you so much for your support and patience!

--
Regards, DZ

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PostPosted: Sun Feb 15, 2015 10:07 am 
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downer mydnyte wrote:
It's quite often the ones who "don't know what they're doing" who ... blah ....

You're mis interpreting some off the cuff remarks. Traditionally, a diminished seventh chord is considered dissonant. If you play a diminished seventh chord on an out of tune guitar it can sound like shit. It's not a diminished seventh chord if it's not played in tune, it's something else. The something else might end up sounding interesting but it won't be a diminished seventh chord and that sound combination will have some kind of prescription to enable reproducing it and anyone with a developed ear will be able to tell the difference . That's what I meant by boundaries - not absolute boundaries that you should never cross but particular boundaries that describe particular reproducible sounds.

And the other point about not knowing what they're doing relates to, for example, being incapable of tuning a guitar properly in the first place. If you can't actually tell the difference then you're more than likely not going to produce very much inspired music. There's a big difference between being incapable of tuning a guitar normally and playing it out of tune on purpose.

You're very quick to judge Mr Downer and more than a wee bit patronising.

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PostPosted: Sun Feb 15, 2015 6:49 pm 
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I'm really interested in hearing the new album, hope it's good.

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