harmonics guitar

okay but attention reader by pencey prep is honestly the best thing???
•the harmonizing of the fast guitar and piano
•frank’s voice is so angsty
•the chorus is legit 20 seconds of him screaming
MY. HEART. FADES.
•and if you go over the lyrics it sounds like frank’s singing about a guy he’s heartbroken over because the guy only comes around at night (“i see you only at night” “you still wear her scent”)
•a true masterpiece

Portrait of Tracy
Jaco Pastorius
Portrait of Tracy

One of the many reasons jazz is so wonderful is that gives every instrument a chance to shine, meaning that the oft ignored bass can play both a supporting role and lead role, even being able to function as a solo instrument by itself if you’re good enough. Jaco Pastorius was only good enough, he’s considered by many to be the most talented bassist to ever play, for many reasons. For one, he was a pioneer of using the bass guitar in jazz, popularizing the use of the fretless bass in order to achieve a more natural tone akin to the double bass. And his chops were legendary. He could coax sounds from a bass that sounded more like guitar or electric piano lines. Case in point, “Portrait of Tracy,” a display of chops from his landmark debut solo record that is far more immediately ethereal than “impressive.” But it is really fucking impressive. The whole thing is played in almost nothing but natural harmonic overtones[1], meaning for most of the track, he’s playing notes (and chords!) that are technically supposed to be impossible on the bass’ natural range. This short ballad is so impressive that much like “Giant Steps,” it has since become a benchmark to technical ability among bassists. But even despite this, it still manages to make you forget all that and focus on it’s wonderful dreaminess.

[1] MUSIC THEORY ASIDE: OK, so roughly speaking, a harmonic overtone is a tone hidden within the frequency of another tone. When you hear a note, you’re hearing its fundamental tone, but there are other tones (aka partials if you want to get really in depth) that are still there which you would hear if they weren’t being covered by the fundamental tone. By craftily manipulating the vibrations of their voices/instruments, talented musicians are able to isolate the sound wave that has an overtone within the harmonic frequency, thus covering the fundamental tone (although since it’s not the fundamental, the overtone will still sound a little wonky, hence the “hazy” quality of “Portrait of Tracy”). In the jazz world, being able to do this is regarded as an “extended technique” (i.e. a technique on the instrument that is often difficult and not within the instruments usual playing conventions) and it’s impressive almost exclusively to other musicians. 

Fallout - Arrow Music Notes 6x01

We are back! Five months ago, we were waiting to find out who had survived the Island explosions and the answers were given rather quickly in this fast-paced episode.  As the episode progresses, we see how this event affected the whole team but particularly Oliver with William and Lance with Black Siren. 

Originally posted by olivergifs

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“Sort-of” circuit clone of a Cornish G-2, but far more compact (and far less expensive!) than the original pedal. The circuit is basically a Big Muff with germanium diodes and a tone control that doesn’t scoop mids (only attenuates treble). The tone control is a tiny change on paper but has an enormous impact on the sound, making this much more overdrive-like in character. Moreover, the germanium diodes have a much less fizzy/splatty decay than silicon, because their ‘knee’ is broader, meaning that the note decay from this pedal sounds nothing like a Big Muff.

Retained from the original: buffered bypass, secondary buffered input, gain staging + component values, chassis isolation from ground (via capacitor + nylon jacks), multinode power supply.

Different from original: diodes, and the layout in this pedal is obviously very different from a real Cornish (which is almost a shoebox it’s so huge). And my grounding scheme is a more rigorous star to match the nodal supply.

Notes on the diodes:
Nobody knows what diodes Cornish uses. This build uses NOS Philips OA9 germanium diodes. They have a Vf of 0.222V, which I find to yield exactly the right range of gain/saturation across the gain pot travel. A lot of people don’t realize that the forward voltage of the diodes is maybe the biggest single factor in the sound of this circuit.

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Missing - Arrow Music Notes 5x22

Everything goes up a notch after the team celebrates Oliver’s Birthday, with Chase and friends grabbing each one and bringing them to Lian Yu.  This forces Oliver to choose some unusual alliances with former enemies which also means the return of several great musical themes.

Originally posted by queensarrow

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SMH BAND AU

This is because of the Dad Rock with Jack and Dex thing, I’m out of control someone stop me.

OH MY GOD THIS GOT SO LONG WHAT AM I DOING WITH MY LIFE

  • “Bad Bob” Zimmermann was the king of rock ‘n’ roll back in the 80′s, like Sprinsteen levels of cool. He was like the most famous Canadian ever. 
  • His son Jack rocketed to stardom in his teens, starring in a pop duo with Kenny Parson. As most kids who grow up famous do, they both got involved in the party life style - and Jack ended up in trouble. Kent went on to have a solo career while Jack went into rehab. The whole thing was plastered all over the tabloids. 
  • Post rehab - Jack’s dad & record label find this group of ~delinquents~ that are need some kind of star power to get them on the billboard charts. They’re a good group of kids actually - hearts of gold - they’re just kind of… strange. But this is the music business and they’re an indie/punk (weird - says bad bob) band, so strange is good. The fans dig it.
  • “Shitty” Knight is the drummer, obviously, generally half to fully naked and always yelling about heteronormativity and the gender binary and other things that tend to get lost under the crash of his drum set. His energy is magnetic though, and Jack finds himself in the possession of a new best friend without really even trying. It’s okay… once he gets over the nakedness and the mustache.
  • Justin “Ransom” Oluransi - guitar prodigy, and Adam “Holster” Birkholtz - best electric bass player in the business, are an inseparable team and a force of nature on stage. Jack has no idea what their nicknames mean, but he’s not about to question it. 
    • Holster can play pretty much anything you put in front of him, so sometimes he plays the key board (and Jack’ll play bass). He can also play the violin, the dobro, the piano, the clarinet and the recorder. obviously.
    • Ransom is actual FIRE on the electric guitar, it’s amazing, but he never got past the whole playing the intro to Smoke on the Water thing… Holster almost threw his guitar out the window one day. It was bad.
  • Jack joins as the lead singer, though he always has a guitar in his hands. He prefers the acoustic guitar actually, but he’s always played electric on stage. In this new band, he’s secondary to Ransom, and plays rhythm.
  • The name of the band is something like H-E-DOUBLE HOCKEY STICKS. or something. Like, with actual hockey sticks in the logo, ya dig? idk, i’m not creative. 
  • So they start recording some songs and with Jack’s influence they get some more attention and soon they’re getting a fan base (hello, look at all these cute boys it’d be MADNESS. the cheekbones alone jfc) and a few plays on the radio. They do some small local shows, open for a few bigger bands. 
  • They hire Larissa Duan as a manager after six months and one memorable night where the entire band almost missed a performance because they thought it was the next day. Shitty dubs her Lardo within five minutes of meeting her, and for some reason she stays, even after watching R&H go from arguing about a TV show to wrestling on the floor in about two minutes flat. She’s seems unaffected and down to earth and Jack loves her with every fiber of his grumpy heart. 

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Honor Thy Fathers - Arrow Music Notes 5x21

This episode picks up the theme of Legacy again for Oliver, Thea, and Chase as they learn information about their fathers and how it informs the way they have lived their lives.  Should they continue to be honored? If so, how?  On the Flashbacks side of things, Oliver is preparing to return home to begin his crusade for his father.

Originally posted by olivergifs

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tagged by @maythepsychic, thank u!!

if i were a month, i’d be: September

if i were a day of the week, i’d be: Wednesday 

if i were a planet, i’d be: Pluto

if i were a sea animal, i’d be: jellyfish 

if i were a god/goddess, i’d be: Apollo 

if i were a piece of furniture, i’d be: a bedside table

if i were a gemstone, i’d be: opal or lapis lazuli 

if i were a flower, i’d be: an orchid 

if i were a kind of weather, i’d be: i have no idea

if i were a colour, i’d be: merlot or any other shade of red

if i were an emotion, i’d be: fear 

if i were a fruit, i’d be: pineapple 

if i were a sound, i’d be: natural harmonic notes on the guitar 

if i were an element, i’d be: earth

if i were a place, i’d be: no idea

if i were a body part, i’d be: hands 

if i were a mythological creature, i’d be: a nymph 

if i were a taste, i’d be: chocolate milk

if i were a scent, i’d be: the scent of wet soil

if i were an object, i’d be: an empty bottle of perfume 

if i were a song, i’d be: this is one of the hardest questions to answer idk sorry 

if i were a pair of shoes, i’d be: old, worn out converse 

i tag @rhapsodicroses @brooklyntatebaby @coolbuttmetal @morrisseys-left-nip and anyone else who wants to do this 

Leor Miller - Discover Myself

I dig futile holes in the ground

Leor Miller is a musician and photographer from Evanston, IL who just released her album Gender Dysphoria Memes. Her lyrics and vocal style are reminiscent of Isaac Brock’s early days, especially on the pensive, lilting “Discover Myself.” Miller uses muted guitar harmonics and chiming riffs to decorate the lyrical arc of the song, which explores the cycle of self sabotage.

Follow Leor at leor-miller.

Ghost - Meliora

Okay, let’s get a couple of bothersome things out of the way regarding Sweden’s Ghost. They look like this:

And I mean they always look like this, at least, any time they’re in public as Ghost. Here they are accepting their Grammy for “Cirice:”

     When they aren’t in public as Ghost, no one even knows who they are. These dudes have actual, real-life secret identities. Skeleton Pope there is the singer, who goes by Papa Emeritus (currently P.E. III; they make a big show of pretending to fire him and replacing him before each new album, though it’s always been the same guy). The five instrumentalists are known only as “Nameless Ghouls.” All their songs (most of which are about Satan) are credited to “a Ghoul Writer.”
     It’s all incredibly silly, I know. One of the reasons I can let it slide is that, unlike most metal acts who indulge in similar theatrics (*cough*every fucking black metal band ever*cough cough*), they know. Still, if I had seen them before I heard them, I might well have refused to give them a chance. Which would have been a real shame, because they are sooooo good. Their first two albums are both excellent, but 2015’s Meliora is their crowning achievement, in my opinion.
     Album opener “Spirit” kicks off with church bells and a spooky keyboard melody. The rest of the band comes in like rolling thunder before settling into a combination of pulsating riff and hypnotic vocals, reminiscent of the futuristic, mechanical style of Voivod’s Nothingface. Except this is far more accessible than Voivod ever was*.
     “From the Pinnacle to the Pit” is delightfully menacing, dripping with attitude, driven by a surly, swaggering bass riff. I love Ghost’s bass player; he isn’t flashy, but he never lets you forget that he’s there.
     “Cirice” begins with a sinister instrumental intro that gradually builds to a driving, midtempo riff. Throw in some squealing falsetto, and “Cirice” could be. not just a Mercyful Fate song, but the greatest Mercyful Fate song. It’s no accident that this is what won them a Grammy; it’s dark, mysterious, and heavy, but also catchy as hell.
     “Spoksonat,” a pretty instrumental interlude, leads into “He Is,” which is probably the most inspirational song about Satan ever written. Haunting verses over acoustic guitars give way to one of the most uplifting, anthemic choruses I’ve ever heard. Impossible not to sing along.
     “Mummy Dust” is the most vicious song on Meliora, with its palm-muted riffs and hissed vocals. It could almost be thrash metal, if not for the prevalence of keyboards (there’s even a keyboard solo!). In fact, keyboards are all over this album, and despite my natural antipathy towards keyboards in metal, they are never anything but an asset here.
     “Majesty” is their homage to early Seventies hard rock. With its crunchy guitars, organ, laid-back groove, and vaguely Eastern flourishes, it calls to mind Led Zeppelin, Black Sabbath, Deep Purple, and Uriah Heep.
     “Devil Church,” Meliora’s second instrumental, is a majestic processional made of harmonized guitars and pipe organ.
     “Absolution” starts off like classic Judas Priest, switches gears and goes full arena rock for the chorus, then doubles down for a guitar solo and bridge that call to mind Kansas and Styx at their most epic.
     The album closes with “Deus in Absentia,” which I can only describe as a sort of gothic tango with a huge, stately chorus, complete with some Queen-esque guitar work.
     Their music is dark and complex and as theatrical as you would expect, displaying impressive stylistic range, drawing from a wide variety of influences. Their heaviness doesn’t depend upon volume or speed or abrasiveness (no Cookie Monster vocals!). They possess a gift for infectious melodies and are clearly unafraid of defying genre conventions, which I’m sure has huge swaths of the metal community howling that they’re sellouts, or they aren’t “true” metal. I can’t bring myself to care; I’ve been listening to this stuff long enough to know no band will ever be metal enough for everybody. What I do care about is that these guys have made an album that I can’t stop listening to, one that I’m convinced will stand the test of time.


*There are bands whose music is an acquired taste, and then there’s Voivod, whose every individual album is a separate acquired taste unto itself.

Generalising about an entire fandom and making them out to be rude/sexist/cheaters/bitches etc is about as ignorant as generalising about entire religions, cultures, countries. A lot of the 5SOS fam have been gracious and sweet about everything, so let’s not go blaming them or starting fights with the ignorant ones.

Besides, awards and accolades don’t equate to anything, they are what they are; happiness and SUCCESS do. With 3 lead singles going 4x platinum, a song in the top 20 on the Hot 100, and all of us being the most supportive fandom in the world, 5H have nothing to complain about, which is exactly why they aren’t complaining.

And neither should you.

(Oh, and let’s not dismiss last year’s VMA win. We DID THAT.)

So congrats, 5SOS. See you next year!