![]() I thought it was going to be a pretty quiet record, but then Ryan Adams came in as producer. It was all about the mosh pit or the hairdo, and not about the songs. But once I got past that, I realized it was a time where people were listening to songwriters again, and in D Generation I was always frustrated that my lyrics were never heard. Why isn’t the band called Jesse Malin?’ I thought that’d be very adult. ![]() I’d always been in bands, but somebody said to me, ‘You pay for the rehearsals, you write all the songs. “I was really nervous to be a solo artist. ![]() We got to play Max’s Kansas City, CBGB, A7, the Ritz, and eventually we went on tour, to the point where I stopped going to junior high school and just started touring.” 2. I guess I just had this atheism already in my 14-year-old head. ![]() “As for the title of the EP, I had never even heard of Nietzsche. “It has three songs: ‘God Is Dead’ is a thrash number, ‘Shotgun’ is an anti-NRA song – which, you think how many years ago that is and how it’s the exact same stuff that we’re still dealing with – and ‘You’ is about a girl that didn’t want to give me any notice in junior high school. The only other band that had a record out around then was the Bad Brains, and they were from D.C. I believe it’s the first New York hardcore record. “We put this out, and then we went and started doing shows with the Misfits and the Bad Brains and the Circle Jerks. We were a power trio, and our manager was a guy named Mojo who the Beastie Boys later wrote a song about. It was a three-song EP my band Heart Attack cut at a studio in Long Island City. The Leslie cabs are always on, and the rotary speed can be controlled by the Axess Electronics FX1 foot controller, which forms the heart of the switching system.“This came out when I was in junior high school – PS 194 in Whitestone, Queens. “We’ve got two Leslie 147 cabinets with us that were modified by Murph at Nashville Hammond, and they accept a guitar signal from the front-end effects. "The stereo effects are fed from the main Marshall’s effects loop, but they return to a Rane mixer, and the output is sent to a Mesa/Boogie Stereo 2:100 Rectifier stereo power amp, and this feeds the left and right Marshalls. Peter also has an Alesis Q20 20-bit processor for a vintage Shadows/Hank Marvin–style delay. Electronic TC 1210 Spatial Expander + Stereo Chorus Flanger, and an Eventide Eclipse V4. All delays are pre-programmed to the song. It has a really nice, warm decay that gets darker as the tails drop off. Electronic M3000 Studio Reverb processors, and a Korg SDD-300 delay which is based on the classic Korg SDD-3000 rack delay. “The loop effects consist of three main delay/reverbs: Two T.C. Some of the pedals that are part of Frampton's input signal chain. And there’s an Origin Effects Cali76, which is basically a Universal Audio 1176–style compressor in a pedal. "There’s also a Foxx Tone Machine Octave Fuzz, which gets used for about 15 seconds total in the show. There’s a Fulltone OCD, a Voodoo Lab Sparkle Drive, an Origin Effects RevivalDrive – which was a new addition for the Finale tour – and a Creation Audio Labs MK4.23 Clean Boost, which just adds a touch of lift to the Marshall. In the Drive section, you have a few other stompbox flavors to choose from in addition to the Klon Centaur. “They’re divided into two categories: drives and boosts, and modulation. The front-end effects are exactly what they sound like – they’re part of the input signal chain to the main instrument input of the amps. “Using a Mesa/Boogie Switch-Track amp switcher, a pair of Voodoo Lab GCX loop switchers and an Axess Electronics RX1 Router Switcher, all pedals and loop effects are only punched into the signal chain when required.
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