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Base theme by DesignModo & ported to Powered by Vanilla by Chris Ireland, modified by the "theFB" team.
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Remember, it's easier to criticise than create!
This is from his website:
I have a V-Meter touch strip which controls numerous parameters in MainStage on the laptop. I have a sustainer by Sustainiac which takes the signal from the bridge pickup and uses that to magnetically sustain the strings. This produces infinite sustain even acoustically without the guitar plugged in. There is a Fishman Tripleplay synth pickup which I use to trigger synths and samplers on the laptop. The synths are generally used for chords rather than lead. Finally there is a GK-2 which I use purely for the audio signals to the VG-88.
His gear page rundown is here:
http://www.markwingfield.com/gear/index.html
Put it another way: It may be oversimplifying it somewhat, but generally speaking music revolves around a series of moments where tension is built up then resolved, a chord sequence may have a conclusion that naturally feels "happy" or "sad" and a certain few chords in a row may suggest to one's ear what the "right" next chord may be...One of the reasons why some forms of Jazz are so divisve is that they lean very heavily on this idea of creating almost dischordant tension, which is then resolved. Some Jazz artists take this to the nth degree, creating parts which, in isolation, are wildly "out of tune" - or "out of the box" as they may call it - with the view that they work as part of the whole. Others see this as indulgent, dissonant rubbish.
For my tastes, you need to tread the fine line between tension and toss. Is all.
A lot of the examples above fail to tread the right side of that line, IMO. YMMV.
I wouldn't want to go and see a horse playing improv freeform jazz, mind.*
*although in fairness to the horse, it wouldn't be any worse than some of the examples above.
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