Please post some deliberate odd/weird/“bad” tones used in members’ work

studio

Poster Extraordinaire
Joined
May 27, 2013
Posts
8,484
Location
California
Here's my entry!
Weird starts about the one minute mark for your consideration. 🙃

But please listen to the whole thing. Thanks.


So wanna know what I did?
How i did it?

It's actually my voice talking into the pickup of one of my strats!
Then, I got the signal added delay and flanger on pretty heavy sweep which gives that high pitched whining effect too!

If you listen closely, you can barely hear what I'm saying.
What am I saying? I forgot!

I think its, " I gotta get out"
Or something equally as weird to qualify me for space cadet academy.
 

ASATKat

Poster Extraordinaire
Joined
Nov 16, 2018
Posts
5,676
Age
68
Location
next to the burn zone
Cool, that’s all Katana? I don’t know that I’ve (knowingly) heard a Katana before, and keep meaning to go try one.

That seems pretty distorted but still useful, not a special-effects-only kind of sound.

It might be tonight before I can check that one out in detail on real speakers, but it had a fun blend of rock crunch and chaos skronk on my phone speaker. Will relisten on better gear later/soon.
All these clips are my Katana 100 Mk2 except the one I said was the Kat 50.

The trickling down delay thing is my Yamaha MagicStomp. One of the coolest pedals I've heard about, but nothing sounds quite like the MagicStomp.
 

clayville

Tele-Meister
Joined
Jul 27, 2006
Posts
403
Location
Boston
Years ago this started as a few guitar takes over someone else's backing track. There's a lot of a tempo-synced digital delay plug-in creating the burbling decaying stuff off to the sides and a lot of counter rhythms in the guitar playing trying to "funk it up" using a couple of different approaches as I experimented with "an approach". While trying to decide what to keep and then make some of it work in the mix, I accidentally muted the backing track rather than one of the guitar parts, and Boom! I liked the unusual sound of my parts without the backing track much better than how they sounded with it. A very odd way to make "music" for me but (though not for everyone) I felt like it had a certain head-bobbing charm with all the syncopation... and I'd been listening to a lot of World Saxophone Quartet's "Rhythm & Blues" album at the time.
 

mexicanyella

Friend of Leo's
Joined
Jan 26, 2012
Posts
4,451
Location
Troy, MO
Years ago this started as a few guitar takes over someone else's backing track. There's a lot of a tempo-synced digital delay plug-in creating the burbling decaying stuff off to the sides and a lot of counter rhythms in the guitar playing trying to "funk it up" using a couple of different approaches as I experimented with "an approach". While trying to decide what to keep and then make some of it work in the mix, I accidentally muted the backing track rather than one of the guitar parts, and Boom! I liked the unusual sound of my parts without the backing track much better than how they sounded with it. A very odd way to make "music" for me but (though not for everyone) I felt like it had a certain head-bobbing charm with all the syncopation... and I'd been listening to a lot of World Saxophone Quartet's "Rhythm & Blues" album at the time.

So wanna know what I did?
How i did it?

It's actually my voice talking into the pickup of one of my strats!
Then, I got the signal added delay and flanger on pretty heavy sweep which gives that high pitched whining effect too!

If you listen closely, you can barely hear what I'm saying.
What am I saying? I forgot!

I think its, " I gotta get out"
Or something equally as weird to qualify me for space cadet academy.
Interesting how two
Such delay-heavy pieces can have such different feelings of space established by the density of the mix and the delay rePeats. I’m glad to have has the opportunity to check them out more or less
Back to back.
 

Ed Driscoll

Friend of Leo's
Joined
Aug 19, 2003
Posts
2,178
Location
South of Dallas
My stuff is nowhere near as "out" as the above clips ( :) stuff!) But at about the 2:30 mark of a song I wrote in 2014, I have a short Reason Fender Rhodes solo I played via a guitar to USB interface, followed by a Roland-Ready Strat into a Roland VG-88, into a guitar synth preset called "Smooth:"



On this track from last year, starting at about the 1:00 minute mark, the main rhythm guitar (my 1983 R7 Strat) starts to be doubled on the left channel by my Nashville-Tuned Squier Classic Vibe '60s Strat:



On this 2018 track, after a conventional hard rock Les Paul solo at the 3:12 mark, I have a bit of a "science experiment." On the final verse, I'm playing harmonics at the 12th fret on a Strat, which I tuned to a chime-y melody of sorts via Melodyne, and then ran through (if I'm remembering correctly) an Eventide VST Band Delays patch. Also, starting with the guitar solo, you can hear percussion I recorded in my two car garage, with me playing the tambourine and cowbell at the far end, and a second mic near the front corner, to catch the echo:

 

mexicanyella

Friend of Leo's
Joined
Jan 26, 2012
Posts
4,451
Location
Troy, MO
My stuff is nowhere near as "out" as the above clips ( :) stuff!) But at about the 2:30 mark of a song I wrote in 2014, I have a short Reason Fender Rhodes solo I played via a guitar to USB interface, followed by a Roland-Ready Strat into a Roland VG-88, into a guitar synth preset called "Smooth:"



On this track from last year, starting at about the 1:00 minute mark, the main rhythm guitar (my 1983 R7 Strat) starts to be doubled on the left channel by my Nashville-Tuned Squier Classic Vibe '60s Strat:



On this 2018 track, after a conventional hard rock Les Paul solo at the 3:12 mark, I have a bit of a "science experiment." On the final verse, I'm playing harmonics at the 12th fret on a Strat, which I tuned to a chime-y melody of sorts via Melodyne, and then ran through (if I'm remembering correctly) an Eventide VST Band Delays patch. Also, starting with the guitar solo, you can hear percussion I recorded in my two car garage, with me playing the tambourine and cowbell at the far end, and a second mic near the front corner, to catch the echo:



Man, you tossed out a bunch of cool ideas there; I particularly liked the Strat harmonic melody experiment and the garage reverb/echo percussion, both of which were clearly audible without making it seems like “the point of this song is to serve as a backdrop to support my audio experiment” (which I have been guilty of at times). The RR Strat synthy sound and “Rhodes” solo were fun too. You have a lot of ideas!

And in general, thanks to all who are participating. I’m having a blast checking this stuff out whenever I can get a minute to sit down with it and pay attention. I appreciate everyone taking the time to weigh in. Very inspiring.
 
Last edited:

mexicanyella

Friend of Leo's
Joined
Jan 26, 2012
Posts
4,451
Location
Troy, MO
At the risk of being trite, this is what Pink Floyd did to us back in the day. Well done! :)

Pink Floyd! Duh! That’s it, what I was hearing and for some reason drawing a blank on (53 is not that old...is it?)

Some of @studio ’s guitar tracks in that sound like they are straddling the line between delay and MIDI synth arpeggiator action, and the density of all those staccato notes coming at you make it feel sort of crowding and unsettling, which is a compelling effect.

Whereas @clayville ’s example, with the original backing track removed leaving all these boingy delays, had the opposite effect on me; it was still kind of aurally unsettling but it felt like being sucked in rather than trying to see/hear in past a wall of resistance.

All I had with dinner was a glass of ice water, honest.
 

studio

Poster Extraordinaire
Joined
May 27, 2013
Posts
8,484
Location
California
Pink Floyd! Duh! That’s it, what I was hearing and for some reason drawing a blank on (53 is not that old...is it?)

Some of @studio ’s guitar tracks in that sound like they are straddling the line between delay and MIDI synth arpeggiator action, and the density of all those staccato notes coming at you make it feel sort of crowding and unsettling, which is a compelling effect.

Whereas @clayville ’s example, with the original backing track removed leaving all these boingy delays, had the opposite effect on me; it was still kind of aurally unsettling but it felt like being sucked in rather than trying to see/hear in past a wall of resistance.

All I had with dinner was a glass of ice water, honest.
So, are you talking about the entire song or just the weird part?
 

mexicanyella

Friend of Leo's
Joined
Jan 26, 2012
Posts
4,451
Location
Troy, MO
Okay, thanks.
But what about the weird part?
The weird part!
Weird enough?

You’re specifically referring to a section in there from about 1:00 to about 1:40, right?

I’ve listened on three different setups, and I feel like I can juuuust make out a voice among the instrument sounds. I don’t want to suggest that it’s I significant as a compositional element or anything negative. But to be honest my attention switched over to trying to figure out: “am I hearing some violin in here too?” And trying to mentally examine the bass/drum groove and instrument tones. I liked the driving groove and the tonal contrasts and ???arpeggiation??? Going on a lot. For whatever reason the voice into pickups track took a back seat for me, but I liked the front seat too.

I’m not trying to praise and shame based on weirdness levels here at any rate. I am really enjoying getting to hear a bunch of creative stuff. Kind of a mental recharge.
 

studio

Poster Extraordinaire
Joined
May 27, 2013
Posts
8,484
Location
California
You’re specifically referring to a section in there from about 1:00 to about 1:40, right?

I’ve listened on three different setups, and I feel like I can juuuust make out a voice among the instrument sounds. I don’t want to suggest that it’s I significant as a compositional element or anything negative. But to be honest my attention switched over to trying to figure out: “am I hearing some violin in here too?” And trying to mentally examine the bass/drum groove and instrument tones. I liked the driving groove and the tonal contrasts and ???arpeggiation??? Going on a lot. For whatever reason the voice into pickups track took a back seat for me, but I liked the front seat too.

I’m not trying to praise and shame based on weirdness levels here at any rate. I am really enjoying getting to hear a bunch of creative stuff. Kind of a mental recharge.
Trust me, that part used to be weirder!

Lol.
 

mexicanyella

Friend of Leo's
Joined
Jan 26, 2012
Posts
4,451
Location
Troy, MO
I have this vintage Korg PX5D device with a lot of strange effects. This song
has a setting called "Spaced" : (Guitar patch)


The outro chord is a setting called "Stutter".
That is cool-weird; are all the guitars through Korg sounds in that? The less ray-gun sounding guitars have kind of a cool garage-rock trashy edge to them too; I like the combination of sounds.
 

mexicanyella

Friend of Leo's
Joined
Jan 26, 2012
Posts
4,451
Location
Troy, MO
I remembered a tune I did with a drummer bandmate-at-the-time back around 2002. My guitar choice was sort of weird, an old Silvertone acoustic archtop, with a cheesoid pickup from an old Kawai or Teisco or something attached near the neck in the spirit of those floating DeArmond jazz pickups (Rhythm Chiefs? Something like that). An extremely lowbrow jazz box. I tuned it CGDGBB. The song has one track of that guitar’s pickup and another track of a solid body Electra Phoenix in standard tuning playing the same chords but different voicings.

So that’s a little weird. But then For the solo I miked the Silvertone with this old RCA desktop announcer mic that sounded really midrangey, like a telephone or something. I sang into that mic too:

 




Top