"Buttercups and Candytuft", "Negation 2"

[GONZO-X]

"Buttercups and Candytuft", "Negation 2"

this is a pair of songs, off of an album i co-wrote with a group out of Vancouver Canada named "FALSE HARUSPEX".

it's hard to describe what this is, in general....
suffice it to say, it was a pretty epic project.

it's an hour long instrumental.
or actually, 13 instrumentals, that run along a 'theme'

a few of them get abruptly cut at the end, on the album, these songs run continuously for an entire hour, but they're all different.


False Haruspex (core group) wrote and arranged the basic tracks, i created solo guitar tracks on the basic 3-piece, some of the rhythms, and some melodies.

credits:
Gregory Straathof
David Lamden
Rob Gilliland
Mike Toscarelli

+

Sophie Sanford
Ritcherd Beefheart
Audrey Houle
Matt Emig
Gremislav Iako)))vich


this was mixed by false haruspex.
i hope you enjoy it

some links:
The Theme | False Haruspex
False Haruspex on PureVolume
False Haruspex - The Theme : Music > Alternative - Mininova



Rob Gilliland
solo guitar

Gear used:
1984 Carvin DC200K electric guitar, with Duncan Custom Custom in bridge, stock carvin neck pickup. Kahler bridge.
2006 custom Strat-style guitar, the 'cream machine', with bill lawrence pickups. Hipshot bridge.
1986 Stan Williams Hybrid guitar, w/bill lawrence pickups in the neck and middle, duncan lil 59'r in the bridge. Kahler bridge.

1981 Mesa Boogie Mark IIb 60 watt tube head, w/graphic eq. This head was modified for some of the tracks with a Groovetubes Substitube Tube adapter (takes 6L6 tubes down to EL84's).

Some guitar delay and reverb effects were printed, being added at the effects loop of the boogie. effects unit is a Yamaha DG stomp.

Pedals used: Barber Direct Drive SS overdrive, Barber Tone Press compressor, Ibanez Weeping Demon wah pedal. boss NS-2 noise suppressor pedal.

Cabinets: (2) cabinets were used. The first, a Demeter Isolation cabinet, was internally miced with a combination of a Shure SM57, and a Audio Technica AT4033. Speakers in the Demeter were either an Eminence Legend 112, or a Celestion Vintage 30.
The 2nd, a Roland Closed back 1x12 cabinet with a Celestion Greenback, was typically miced with a ADK Hamburg at about a foot away, and slightly off axis. Some tracks are just the Demeter, some are just the Roland, and some were Summed together, for dry iso cab sound mixed with big room sound.

recording chain: from the mic(s), the signal ran to a A Designs Audio MP-1 class A tube mic preamp, out of that into a DBX MC-6 compressor for light compression, out of that into a ART DPS preamp/convertor, that was used for digital conversion only, and into a Roland VS-1880 digital recorder. These tracks were output from the roland into Sonar via a digital coax cable into a MAudio Delta Audiophile 24/96 sound card.

 

[rayc]

Interesting listen. I only had time for Candy Tuft though.
Nice mix and clean sound - well captured in that case.
I'd have to be in an altered state to enjoy an album's worth though.

 

[cobaltaudio]

Yep I like it too.

Was longing for a change in the bass part that never came though. Chords didn't really go anywhere, but maybe that's the idea?

 

[Dave46239]

To me, Negation2 started off like one of Satch's experimental pieces off Flying in a Blue Dream. In fact, both songs remind me of Satriani in a more experimental mood.

I agree that the recording and mix are very good. I could see sections of these being used in TV or movie soundtracks.

David

 

[GONZO-X]

thanks guys, for checking it out.....


RAYC
altered states.... yes, i think possibly THIS was the idea the guys had, when they first came up with this stuff.
the arrangments are drawn out, the ideas repeating, but in the BIG picture, it all makes sense....
but of coures, listening to just a small part of the big thing, doesnt' really tell the story.

if you listen to the entire thing, beginning to end, it really DOES tell a story, and go thru a whole range of emotions.....



COBALT
you know, there's a lot of bass stuff that goes on thru the whole album, so it's not really fair to give you guys just a bit (one section).....
i think they took a long time to let ideas develop. because there are so many of them on this project.
maybe it was their idea of a hard rock rave.... with repeating motifs, sorta hypnotic, but not ambient.



Dave46239
satch, yeah, i can hear that.
he did some noodly things on engines of creation, is there love in space, a few others, that is sorta like this..

 

[Supercreep]

Buttercups and CandyTuft:

Cool. I'm fond of sevens. Fairly sure I heard a whammy pedal in there, too. I'm not sure I can appreciate this tune independent of the rest of the song.

Negation:

This one's more my style. Cool forbidding tones and filter sweeps. Works for me.

Where can one pick this record up?

 

[GONZO-X]

supercreep

thanks, glad you dig it.
no whammy pedals ever.
just whammy bars, feedback and harmonics.

well, not on my part anyways!!
LOL
the bass player, recorded the heavy rhythm guitar parts over my solo work, he might have had a weird thing in there, somewhere........

the links to this sucker are in the OP

i think the price comes out to about 13 cents per minute.

 

[GONZO-X]

some gear pics
used on this session


iso cab open with boogie

inside pic:

 

[Supercreep]

Very cool.

 

[GONZO-X]

super-

well, the Demeter is ONE solution.....

and it had resonant frequencies inside, even after my little surgery with the foam, that still imparted itself on every track i made, no matter what mic, position, or volume.

i rarely use the demeter for actual miced up tracks anymore, i use it as a load box.....

there are lots of 'iso boxes' out there, well, a few anyways....
but to me, they always sound like you're 'inside a box'.

which you ARE!

LOL

i have a different capture setup now......for quiet recording...
i can always mic a cab too

 

[Supercreep]

You know, you can pick those resonant frequencies out. Maybe they bother you. I think your tone is great, and I have a pretty good ear.

Iso box is a good compromise. The alternative is what, modeling?

 

[GONZO-X]

supercreep

I've tried removing certain frequencies, using waves Linear Phase 8 band, but it always sucks some of the GOOD stuff out..


i bought and used a POD XT for about a year.....
and no matter how i set it up (even using it as a preamp into the boogie power section) i just never got on with it.
so i'm out on modeling.


here's my current rig:

guitar goes to the pedalboard, with the requisite overdrive, compressor, noise gate, tuner, wah and vibe....

that goes into a 1981 Mesa Boogie Mark2B 60 watt short shell head....

out of that, directly into the Palmer PDI-09, which is how i capture the sound that goes on the recording, at line level.

out of the palmer thru a parallel out, into a Weber Mass Lite attenuator, so i can bring the cabinet volume down for monitoring or micing, at either whisper or screaming volume.

out of the Mass Lite, into a AVATAR vintage closed back cab, with a Celestion Heritage G12.


i can mic that cab using either a sm57, or a AT4033 or Shure KSM44, and blend it with the direct Palmer sound, or just use the Palmer signal.

A Yamaha DG stomp effects pedal, is in the effects loop of the boogie, which is great live, but i never use it for recording..

i always record bone dry, and add effects at mix down.


the way i record with it tho, the palmer pdi-09 comes directly off of the amp output, BEFORE the weber sees it, and that's what goes to the mixer.

the weber then attenuates, and i have the option of micing the cab at that point, so the direct sees full output, the cab sees the attenuated output.
i can control the 'monitoring' volume at any volume up to full output (60 watts is pretty freakin' loud)......

or i can crank down on the attenuator, and record the boogie at full output, but at whisper volume.
i'd prefer an isolation room with a wide open cabinet, but alas, the landlord does not like that sound.

LOL

 

[ido1957]

Hey Gonzo - I listened to CandyTuft - pretty cool. We don't get these long instrumentals anymore so it harkens back to the 70's. The synthy/indian sound you have is very cool. Your playing is always great and this is another classic that I enjoyed listening to. Mix is perfect for me....

 

[GONZO-X]

ido1957

cool man, glad you dig it.
i know what you mean about 'long instrumentals', there's just not much of a market for them, yet, i still dig it.

my own instrumentals typically are no more than 4 minutes long, my nod to the modern day ADD with a lot of listeners!
LOL

 

[Supercreep]

supercreep

I've tried removing certain frequencies, using waves Linear Phase 8 band, but it always sucks some of the GOOD stuff out..


i bought and used a POD XT for about a year.....
and no matter how i set it up (even using it as a preamp into the boogie power section) i just never got on with it.
so i'm out on modeling.


here's my current rig:

guitar goes to the pedalboard, with the requisite overdrive, compressor, noise gate, tuner, wah and vibe....

that goes into a 1981 Mesa Boogie Mark2B 60 watt short shell head....

out of that, directly into the Palmer PDI-09, which is how i capture the sound that goes on the recording, at line level.

out of the palmer thru a parallel out, into a Weber Mass Lite attenuator, so i can bring the cabinet volume down for monitoring or micing, at either whisper or screaming volume.

out of the Mass Lite, into a AVATAR vintage closed back cab, with a Celestion Heritage G12.


i can mic that cab using either a sm57, or a AT4033 or Shure KSM44, and blend it with the direct Palmer sound, or just use the Palmer signal.

A Yamaha DG stomp effects pedal, is in the effects loop of the boogie, which is great live, but i never use it for recording..

i always record bone dry, and add effects at mix down.


the way i record with it tho, the palmer pdi-09 comes directly off of the amp output, BEFORE the weber sees it, and that's what goes to the mixer.

the weber then attenuates, and i have the option of micing the cab at that point, so the direct sees full output, the cab sees the attenuated output.
i can control the 'monitoring' volume at any volume up to full output (60 watts is pretty freakin' loud)......

or i can crank down on the attenuator, and record the boogie at full output, but at whisper volume.
i'd prefer an isolation room with a wide open cabinet, but alas, the landlord does not like that sound.

LOL

Cool, man - thanks for the run down.

Your landlord just needs to chill....

 

[GONZO-X]

Your landlord just needs to chill....

heheh, no sh!t