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Op dinsdag 11 april 2017 16:11 schreef possetje het volgende:
Brian eno, weet niet of hij het bedacht heeft maar iig werd hij er wel beroemd mee, "a prepared piano"

dan was er een piano, en tussen de snaren van de piano deed hij dan stukjes hout ( bijv wasknijpers of muntjes ) en dan begon de piano opeens heel weird te klinken!

Neko Piano - Prepared Piano Sounds of the Upright Piano

Lazuli Léode.wmv

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The first guitar amplifiers were relatively low-fidelity, and would often produce distortion when their volume (gain) was increased beyond their design limit or if they sustained minor damage.[3] Around 1945, Western-swing guitarist Junior Barnard began experimenting with a rudimentary humbucker pick-up and a small amplifier to obtain his signature "low-down and dirty" bluesy sound.

"Fat Boy Rag" Junior Barnard with Bob Wills

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Op woensdag 12 april 2017 15:50 schreef Gehenna het volgende:
Moondog!

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Op woensdag 12 april 2017 15:59 schreef cafca het volgende:

[..]

Ja. Hij heeft nog meer instrudingesen ontworpen, maar daar kan ik nergens beeldmateriaal van vinden.

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Op woensdag 12 april 2017 16:00 schreef cafca het volgende:
En deze mag hier ook niet ontbreken :
[ afbeelding ]

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Op woensdag 12 april 2017 16:00 schreef cafca het volgende:
En deze mag hier ook niet ontbreken :
[ afbeelding ]

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Op woensdag 12 april 2017 16:04 schreef Gehenna het volgende:

[..]

Hij had sowieso nog 'The Dragons Teeth' als variatie op de Trimba:
[ afbeelding ]

Moondog - Oo Solo (6/4)

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The Nickelodeon story
(taken from the official SAILOR biography):

By the time the first SAILOR album was finished the complexity of the group sound created a new challenge for SAILOR: How were four musicians going to successfully deliver the sound of about ten instruments on stage without increasing their line-up? (Bear in mind that this was 1974, long before the advent of computer keyboards which can play any sound at the touch of a button.)
Within a very short time, in fact possibly as little as a month after the final mix of the SAILOR album, Georg had come up with the solution: a custom-designed all-purpose machine, the constituents of which were two upright pianos, two synthesizers, mini organs and glockenspiels all mechanically linked and contained within a wooden frame also designed by Georg.
Construction work took place above a pub, appropriately in one of the seedier parts of London.
Henry: "I remember standing next to Georg handing him hammers, nails, glue, sandwiches and anything else required, as he set about his creation like a man possessed! After the final staining of the wood which made it resemble some strange piece of antique furniture, I recall standing back, looking at it and thinking: 'He actually expects us to play the bloody thing?'"
The basic keyboards were back to back, enabling Phil and Henry to face each other when playing, and also to talk to each other when bored. Phil played what was referred to as the bass side, Henry the treble side, and so the Nickelodeon was born.

Sailor - The Old Nickelodeon Sound (1976)

Michael Angelo Batio Freight Train Solo

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The Quad Guitar
As well as the Double Guitar, Michael Angelo also invented and designed the Quad Guitar.[19] The guitar was originally built in conjunction with Gibson, and built by Wayne Charvel in California. The top two guitars have seven strings, while the bottom two have the regular six. The first Quad, as used in the video for Nitro's "Freight Train", was stolen in El Paso, Texas after the second show of Nitro's O.F.R. tour. When Batio was performing in November 2004, a young fan named Simon Jones and his father turned up with a guitar case which held inside the two top guitars of the Quad, as found by Mick Seymour. Dean designed and had Mike Lipe build a new Quad Guitar in 2008.

The Quad Guitar was recently named as the 2nd "coolest guitar in rock" by online music magazine Gigwise

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Op donderdag 13 april 2017 14:58 schreef bazbo het volgende:
De SynthAxe, dan?
Ontworpen door Bill Aitken, Mike Dixon en Tony Sedivy in de jaren tachtig. Het is een type gitaarsynthesizer, destijds revolutionair maar uiteindelijk niet succesvol.
Allan Holdsworth is een van de weinigen die er veel gebruik van heeft gemaakt. Hoor zijn platen Avatachron en Sand.

[...]

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Unless you’re just totally new to this movement called hip hop and have no sense of history whatsoever, you know the legendary name Marley Marl. The DJ/producer behind the mighty Juice Crew is a pioneer in the hip hop genre and has crafted production for numerous classic albums. You probably know this. What you may not know is just how significant Marley was in shaping the way modern hip hop records are created. Simply put, he is the man who introduced sampling to hip hop production. Now, this was not a case of the then up and coming D.J. coming to the revelation of lifting everything from drums and effects to musical snippets from existing records into a sampler to create new tracks. Rather,he stumbled upon this technique in the same fashion that Grand Wizard Theodore discovered scratching…..by accident.
“He immediately recognized the importance of his discovery. Excitedly, he asked the engineer “do you know what we just did?” The engineer had no clue.”
marley marl producerPrevious to Marley’s discovery, drum machines were the status quo for creating hip hop beats. We’re talking pre-1985. Now, rappers had been rhyming over popular break beats since hip hop’s inception but no one thought to sample say, a great James Brown drum loop then layer other samples over top of it. Primitive sounding drum machines such as the DMX drum kit were used to create records such as Run DMC’s Sucker M.C.’s and Davey DMX’s One For The Treble. While these particular records were groundbreaking and new at the time, a lot of other records sounded like cheap knock offs and it was only so far this technology could go before it hit a creative wall. Marley Marl’s own musical background is rooted in dance and electronica music, even before hip hop. The usage of multi layered sampling was common in creating dance mixes but it had never been done in hip hop.
The Architect
While doing an internship at Unique Studios, Marley was working in the studio one day. He instructed the engineer to sample a vocal line while remixing a Captain Rock song. In doing so, the snare was accidentally picked up by the sampler. While playing the sample over a beat, he noticed that the sample’s snare actually sounded better than the original snare playing. Marley immediately recognized the importance of his discovery. Excitedly, he asked the engineer “do you know what we just did?” The engineer had no clue. Marley realized that he could use the drum riffs off any of the records in his vast collection at will. Nothing was off limits, everything from James Brown to some obscure foreign record could now be incorporated into a musical creation that sounded light years better than the traditional drum machines. This would eventually lead to the initial sample renaissance in hip hop that would be the James Brown sound which dominated the mid to late 80’s and early 90’s. The fashion in which hip hop records were produced was changed forever. Marley says he immediately left the studio that now historic day never to return to his intern position.
He immediately purchased three samplers, went home and set to creating the blueprint for the modern hip hop sound, never looking back. What followed was an extraordinary run of production for landmark sets of everyone from MC Shan, Big Daddy Kane, Bizmarkie, Kool G. Rap, Roxanne Shante and other Juice Crew alumni to Eric B. & Rakim, LL. Cool J, Lords Of The Underground and numerous other acts. Make no mistake about it,the transition of hip hop’s sound from it’s beginnings to the golden eras of the late 80’s and 90’s going until current times can be traced back to one man, one producer, one D.J. the great D.J. Marley Marl.

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Op dinsdag 11 april 2017 16:15 schreef pipster het volgende:
Frederick Lincoln 'Link' Wray (Dunn (North Carolina), 2 mei 1929 - Kopenhagen, 5 november 2005) was een Amerikaanse rock-'n-roll-gitarist. Vooral zijn invloed op de elektrische gitaar is groot. Hij introduceerde in 1958 met het instrumentale nummer Rumble de powerchord, waarmee hij de schakel vormde tussen de rustige, jazzy gitaarstijl van de eerste blues- en rock-'n-rollplaten en het latere, krachtiger gitaarspel van muzikanten als Jimi Hendrix, Jeff Beck, Jimmy Page, Pete Townshend en Eric Clapton.

+

- At a session one day, using a pencil, Wray punched holes in the speaker of his amplifier, and thereby invented what guitar players know today as fuzz-tone.

Link Wray - Rumble [HQ - Best Version]

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Op donderdag 13 april 2017 14:58 schreef bazbo het volgende:
De SynthAxe, dan?
Ontworpen door Bill Aitken, Mike Dixon en Tony Sedivy in de jaren tachtig. Het is een type gitaarsynthesizer, destijds revolutionair maar uiteindelijk niet succesvol.
Allan Holdsworth is een van de weinigen die er veel gebruik van heeft gemaakt. Hoor zijn platen Avatachron en Sand.

[ afbeelding ]

Allan Holdsworth playing his SynthAxe

SynthAxe Demo from the 80's