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Oh and the guitar as a motorbike sounds on From Here to Eternity too. Fabulous.
https://www.youtube.com/watch?v=_mwQdAQqd8k
Trading feedback: http://www.thefretboard.co.uk/discussion/72424/
It's hard to imagine now but, at the time, those sounds simply didn't exist in the days before extensive use of special effects and synths etc.
https://www.youtube.com/watch?v=AR6A3dap6MI
"Take these three items, some WD-40, a vise grip, and a roll of duct tape. Any man worth his salt can fix almost any problem with this stuff alone." - Walt Kowalski
"Only two things are infinite - the universe, and human stupidity. And I'm not sure about the universe." - Albert Einstein
And the answer to that is Tom Morello.
How he played and what he did with the Whammy - and not a whole lot else - was new, fresh, exciting and influenced a whole new generation of players. Matt Bellamy is the most recent guitar icon in my opinion but his style is just an evolution of Tom's. Jonny Greenwood gets some nuts sounds out of his gear but again it stemmed from Tom's Whammy and killswitch work.
There's maybe some new radio1 rock band that have a 'new' sound but from where I'm sitting I haven't heard it yet.
"Take these three items, some WD-40, a vise grip, and a roll of duct tape. Any man worth his salt can fix almost any problem with this stuff alone." - Walt Kowalski
"Only two things are infinite - the universe, and human stupidity. And I'm not sure about the universe." - Albert Einstein
electric proddy probe machine
My trading feedback thread
This dry guitar pattern was next relayed to four Fender Twin Reverb amplifiers, each with its own vibrato tremolo switch. As Marr's plain rhythm was played back through the speakers, Porter and Marr controlled the vibrato on one pair of amplifiers apiece to create the swampy, shuddering texture required. Whenever their tremolo slipped out of sync, the recording was stopped, the tape spun back and recommenced, sometimes recording in bursts of only ten seconds at a time."
---an extract from the rather excellent Simon Goddard Smiths book.
As for "when am I ready?" You'll never be ready. It works in reverse, you become ready by doing it. - pmbomb
I'd heard an album by them previously, which sounded vaguely Banshee-esque, but interested me enough to try to track it down. I didn't have much success at the time, but I eventually found Treasure in the Cambridge branch of Andy's Records. Maybe this was what I'd heard previously?
When I got home I played it. It wasn't the album I'd heard. It didn't sound much like it at all and I wasn't sure I liked it. One thing I was sure of is that I'd never heard anything like it before. I played it again. And again. And again. By now I was utterly besotted.
I've spent the past 31-odd years trying to understand exactly why Robin Guthrie's playing gets me the way it does, but I still haven't grasped it. There's plenty of other people who use a shed-load of delay and reverb, but not one I've heard so far that does that thing.
I said maybe.....
Gibson ES295 semi hollow body with tonnes of echo, sustain, chorus and flanging
https://www.youtube.com/watch?v=bbkzX5e6hHs
Plus his own inimitable dissonant style
The guitars on the opening of Sugar Hiccup dropped my jaw first time I heard it. That was my first experience of the Cocteaus. Long may they reign.
https://youtu.be/KatZSNzcdyQ
I said maybe.....