Robert Fripp (born 16 May 1946 in Wimborne Minster, Dorset, England, United… Read Full Bio ↴Robert Fripp (born 16 May 1946 in Wimborne Minster, Dorset, England, United Kingdom) is a guitarist, composer and a record producer, perhaps best known for being the guitarist for, and only constant member of, the progressive rock band King Crimson. His work, spanning five decades, encompasses a variety of musical styles.
Fripp began playing guitar at the age of eleven. He says he was tone-deaf with no sense of rhythm when he started. His comment on dealing with the obstacle is "Music so wishes to be heard that it sometimes calls on unlikely characters to give it voice".
Being taught guitar basics by his teacher Don Strike, it was the time when he developed the technique of crosspicking, which would later become a significant technique taught in Guitar Craft.
In 1984, Fripp began using the New Standard Tuning, which would also become the official tuning of Guitar Craft.
Fripp is left-handed, but plays a right-handed guitar.
Fripp's earliest professional work began in 1967, when he responded to an ad looking for a singing organist for a band being formed by bassist Peter Giles and drummer Michael Giles, despite being neither a singer nor an organist. Though unsuccessful as a live act, Giles, Giles and Fripp did manage to release two singles, as well as an album, The Cheerful Insanity of Giles, Giles and Fripp.
Following the band's breakup, Fripp, along with drummer Michael Giles, made plans for the formation of King Crimson in 1968, with Greg Lake, Peter Sinfield and Ian McDonald. Their first album, In the Court of the Crimson King, was released in late 1969, to mixed critical reviews. Due to musical differences with Giles and McDonald, King Crimson broke up shortly after the release of the first album, to be re-formed again several times over the years. Initially, Fripp had offered to leave the group; however Giles and McDonald felt that King Crimson was his. To date, Robert Fripp has remained the only consistent member of the band. Crimson went through a number of line-ups before Fripp disbanded the group for the first time in 1974.
During King Crimson's less active periods, Fripp has pursued a number of side-projects. He worked with Keith Tippett (and others who appeared on King Crimson records) on projects far from rock music, producing Septober Energy in 1971 and Ovary Lodge in 1973. During this period he also worked with Van der Graaf Generator, playing on the 1970 album H to He, Who Am the Only One, and in 1971, on Pawn Hearts. Collaborating with Brian Eno, he recorded No Pussyfooting in 1972 and Evening Star in 1974. These two albums featured experimentation with several novel musical techniques, including a tape delay system utilizing dual reel to reel Revox tape machines that would come to play a central role in Fripp's later work. This system came to be known as "Frippertronics". Fripp and Eno also played several live shows in Europe in 1975.
Fripp spent some time away from the music industry in the later 1970s, during which he cultivated an interest in the teachings of Gurdjieff via J.G. Bennett (studies which would later be influential in his work with Guitar Craft). He returned to musical work as a studio guitarist on Peter Gabriel's first self-titled album in 1976, released the following year. Fripp toured with Gabriel to support the album, but remained in the wings and used the pseudonym "Dusty Rhodes". [1]
In 1977, Fripp received a phone call from Eno, who was working on David Bowie's album "Heroes". Fripp agreed to play guitar for the album, a move which initiated a series of collaborations with other musicians. Fripp soon contributed his musical and production talents to Peter Gabriel's second album, and collaborated with Daryl Hall on Sacred Songs. During this period, Fripp began working on solo material, with contributions from poet/lyricist Joanna Walton and several other musicians, including Eno, Gabriel, and Hall, as well as Peter Hammill, Jerry Marotta, Phil Collins, Tony Levin and Terre Roche. This material eventually became his first solo album, Exposure, released in 1979, followed by the Frippertronics tour in the same year. While living in New York, Fripp contributed to albums and live performances by Blondie and Talking Heads (Fear of Music), and produced The Roches' first album, which featured several of Fripp's characteristic guitar solos. A second set of creative sessions with David Bowie produced distinctive guitar parts on Scary Monsters (and Super Creeps) (1980).
Fripp's collaboration with bassist Busta Jones, drummer Paul Duskin, and vocals by David Byrne (Byrne credited as Absalm el Habib) produced God Save the Queen/Under Heavy Manners in the following year. He simultaneously assembled what he called a "second-division touring new wave instrumental dance band" under the name League of Gentlemen, with bassist Sara Lee, keyboardist Barry Andrews and drummer Johnny Toobad (later replaced by Kevin Wilkinson) . The LOG toured for the duration of 1980.
In the early 1990s Fripp contributed guitar/soundscapes to Lifeforms (1994) by The Future Sound of London and Cydonia (released 2001) by The Orb, as well as FFWD, a collaborative effort with the latter's members. In addition, Fripp worked with Brian Eno co-writing and supplying guitar to two tracks for a CD-ROM project released in 1994 entitled Headcandy created by Chris Juul and Doug Jipson. Eno thought the visual aspects of the disc (video feedback effects) were very disappointing upon completion, and regretted participation. During this period, Fripp also contributed to albums by No-Man (a band featuring Porcupine Tree's Steven Wilson) and The Beloved (1994's Flowermouth and 1996's X, respectively).
1981 saw the formation of King Crimson's fourth incarnation, along with Adrian Belew, Bill Bruford, and Tony Levin. The group was conceptualized under the name "Discipline," but it came to Fripp's attention that the members thought the name King Crimson was more appropriate. For Fripp, King Crimson had always been a way of doing things, rather than a particular group of musicians, and the group felt that their music captured that methodology. After releasing three albums, this new King Crimson broke up in 1984.
During this period Fripp made two records with his old friend Andy Summers of the Police. On I Advance Masked, Fripp and Summers played all the instruments. Bewitched was more dominated by Summers, who produced the record and collaborated with other musicians in addition to Fripp.
In 1982 Fripp produced and played guitar on the Keep On Doing album by The Roches. Similar to his previous guesting on David Bowie's Scary Monsters (which also boasted Pete Townshend and Chuck Hammer on infinite sustain guitar), the "skysaw" guitar style which characterized this period of Fripp's pedagogy is featured alongside the sisters' songs and harmony.
Fripp was offered a teaching position at the American Society for Continuous Education (ASCE) in Claymont Court, West Virginia in 1984. He had been involved with the ASCE since 1978, eventually serving on its board of directors, and had long been considering the idea of teaching guitar. His course, Guitar Craft, was begun in 1985, one of the results of which was a performance group, "The League of Crafty Guitarists," which has released several albums. In 1986, he released the first of two collaborations with his wife, Toyah Willcox. The members of the California Guitar Trio are former members of The League of Crafty Guitarists, and Gitbox Rebellion includes several former Guitar Craft students. The California Guitar Trio has also toured with King Crimson.
Fripp returned to recording solo in 1994, using an updated version of the Frippertronics technique that employed digital technology instead of tapes to create loops. Fripp released a number of records that he called "Soundscapes," including 1999, Radiophonics, A Blessing of Tears, That Which Passes, November Suite, and The Gates of Paradise. (Pie Jesu consists of material compiled from A Blessing of Tears and The Gates of Paradise.) On the Soundscapes recordings, the inner workings of the music are not as clearly laid bare as they are on Let the Power Fall, perhaps due to the greater possibilities offered by the new technology.
Fripp's collaborations with David Sylvian feature some of his most exuberant guitar playing. Fripp contributed to Sylvian's twenty minute track "Steel Cathedrals" from his Alchemy - An Index Of Possibilities album of 1985. Then Fripp performed on several tracks from Sylvian's 1986 release, Gone To Earth.
At some point in late 1991, Fripp had asked Sylvian to become the vocalist for the reforming King Crimson. Sylvian declined the invitation, but proposed a possible collaboration between the two that would eventually become a tour of Japan and Italy in the spring of 1992. In July of 1993, Sylvian and Fripp released the collaborative effort The First Day. Other contributors were soon-to-be King Crimson member Trey Gunn on stick and nearly-was King Crimson member Jerry Marotta on drums. When the group toured to promote the CD, future King Crimson member Pat Mastelotto took over the drumming spot. The live document Damage was released in 1994, as was the joint venture, Redemption - Approaching Silence, which featured Sylvian's ambient sound sculptures (Approaching Silence) accompanying Fripp reading his own text (Redemption).
In late 1994, Fripp re-formed the 1981 lineup of King Crimson for its fifth incarnation, adding Trey Gunn and drummer Pat Mastelotto in a configuration known as the "double trio". This lineup released Thrak in 1995.
From 1997 to 1999, and again in 2006, the band King Crimson "fraKctalised" into five sub-groups known as ProjeKcts.
2000 saw the release of a studio album, The ConstruKction of Light, from a sixth lineup of King Crimson (Fripp, Adrian Belew, Trey Gunn, Pat Mastelotto) with The Power to Believe following in 2003.
In March of 2004, a seventh lineup had been formulated and practiced with Tony Levin returning to replace Trey Gunn. This permutation of King Crimson has yet to release an album or perform live. A likely "fortieth anniversary lineup" has been discussed as well. Members of this lineup and more precise formation dates have yet to be officially announced.
During 2004, Fripp toured with Joe Satriani and Steve Vai as the guitar trio G3.
Robert Fripp worked at Microsoft's studios to record new sounds and atmospheres for Windows Vista.[2][3]
In late 2005 and early 2006, Fripp joined Bill Rieflin's improvisational Slow Music project, along with guitarist Peter Buck, Fred Chalenor (acoustic bass), Matt Chamberlain (drum kit) and Hector Zazou (electronics). This collective of musicians toured the west coast in May of 2006.
In October 2006, ProjeKct Six (Robert Fripp, Adrian Belew) played at select venues on the east coast of the U.S.[2], opening for Porcupine Tree.
Fripp has contributed soundscapes to two songs for Porcupine Tree's Fear of a Blank Planet. He is featured on the tracks "Way Out Of Here" and "Nil Recurring", the second of which was released in September 2007 as part of the "Nil Recurring" EP.
Robert Fripp of King Crimson is presently at odds with Last.FM, and has undertaken a prolonged series of actions against the company, and this website. Currently, he has:
- disallowed any of his music from being streamed
- disallowed any images from being posted (especially album art)
- disallowed this page to show up in search.
He has pursued similar restrictions against many other websites and companies violation of copyright, with many new restrictions still pending. These events and how people feel about them (including Fripp himself) are well-documented on this and other sites, and so this summary of recent events is a legitimate, relevant, and current dimension of the history of this musician (and thus a dispassionate, noteworthy portion of Fripp’s bio).
Fripp keeps an online diary at DGMLive
Fripp began playing guitar at the age of eleven. He says he was tone-deaf with no sense of rhythm when he started. His comment on dealing with the obstacle is "Music so wishes to be heard that it sometimes calls on unlikely characters to give it voice".
Being taught guitar basics by his teacher Don Strike, it was the time when he developed the technique of crosspicking, which would later become a significant technique taught in Guitar Craft.
In 1984, Fripp began using the New Standard Tuning, which would also become the official tuning of Guitar Craft.
Fripp is left-handed, but plays a right-handed guitar.
Fripp's earliest professional work began in 1967, when he responded to an ad looking for a singing organist for a band being formed by bassist Peter Giles and drummer Michael Giles, despite being neither a singer nor an organist. Though unsuccessful as a live act, Giles, Giles and Fripp did manage to release two singles, as well as an album, The Cheerful Insanity of Giles, Giles and Fripp.
Following the band's breakup, Fripp, along with drummer Michael Giles, made plans for the formation of King Crimson in 1968, with Greg Lake, Peter Sinfield and Ian McDonald. Their first album, In the Court of the Crimson King, was released in late 1969, to mixed critical reviews. Due to musical differences with Giles and McDonald, King Crimson broke up shortly after the release of the first album, to be re-formed again several times over the years. Initially, Fripp had offered to leave the group; however Giles and McDonald felt that King Crimson was his. To date, Robert Fripp has remained the only consistent member of the band. Crimson went through a number of line-ups before Fripp disbanded the group for the first time in 1974.
During King Crimson's less active periods, Fripp has pursued a number of side-projects. He worked with Keith Tippett (and others who appeared on King Crimson records) on projects far from rock music, producing Septober Energy in 1971 and Ovary Lodge in 1973. During this period he also worked with Van der Graaf Generator, playing on the 1970 album H to He, Who Am the Only One, and in 1971, on Pawn Hearts. Collaborating with Brian Eno, he recorded No Pussyfooting in 1972 and Evening Star in 1974. These two albums featured experimentation with several novel musical techniques, including a tape delay system utilizing dual reel to reel Revox tape machines that would come to play a central role in Fripp's later work. This system came to be known as "Frippertronics". Fripp and Eno also played several live shows in Europe in 1975.
Fripp spent some time away from the music industry in the later 1970s, during which he cultivated an interest in the teachings of Gurdjieff via J.G. Bennett (studies which would later be influential in his work with Guitar Craft). He returned to musical work as a studio guitarist on Peter Gabriel's first self-titled album in 1976, released the following year. Fripp toured with Gabriel to support the album, but remained in the wings and used the pseudonym "Dusty Rhodes". [1]
In 1977, Fripp received a phone call from Eno, who was working on David Bowie's album "Heroes". Fripp agreed to play guitar for the album, a move which initiated a series of collaborations with other musicians. Fripp soon contributed his musical and production talents to Peter Gabriel's second album, and collaborated with Daryl Hall on Sacred Songs. During this period, Fripp began working on solo material, with contributions from poet/lyricist Joanna Walton and several other musicians, including Eno, Gabriel, and Hall, as well as Peter Hammill, Jerry Marotta, Phil Collins, Tony Levin and Terre Roche. This material eventually became his first solo album, Exposure, released in 1979, followed by the Frippertronics tour in the same year. While living in New York, Fripp contributed to albums and live performances by Blondie and Talking Heads (Fear of Music), and produced The Roches' first album, which featured several of Fripp's characteristic guitar solos. A second set of creative sessions with David Bowie produced distinctive guitar parts on Scary Monsters (and Super Creeps) (1980).
Fripp's collaboration with bassist Busta Jones, drummer Paul Duskin, and vocals by David Byrne (Byrne credited as Absalm el Habib) produced God Save the Queen/Under Heavy Manners in the following year. He simultaneously assembled what he called a "second-division touring new wave instrumental dance band" under the name League of Gentlemen, with bassist Sara Lee, keyboardist Barry Andrews and drummer Johnny Toobad (later replaced by Kevin Wilkinson) . The LOG toured for the duration of 1980.
In the early 1990s Fripp contributed guitar/soundscapes to Lifeforms (1994) by The Future Sound of London and Cydonia (released 2001) by The Orb, as well as FFWD, a collaborative effort with the latter's members. In addition, Fripp worked with Brian Eno co-writing and supplying guitar to two tracks for a CD-ROM project released in 1994 entitled Headcandy created by Chris Juul and Doug Jipson. Eno thought the visual aspects of the disc (video feedback effects) were very disappointing upon completion, and regretted participation. During this period, Fripp also contributed to albums by No-Man (a band featuring Porcupine Tree's Steven Wilson) and The Beloved (1994's Flowermouth and 1996's X, respectively).
1981 saw the formation of King Crimson's fourth incarnation, along with Adrian Belew, Bill Bruford, and Tony Levin. The group was conceptualized under the name "Discipline," but it came to Fripp's attention that the members thought the name King Crimson was more appropriate. For Fripp, King Crimson had always been a way of doing things, rather than a particular group of musicians, and the group felt that their music captured that methodology. After releasing three albums, this new King Crimson broke up in 1984.
During this period Fripp made two records with his old friend Andy Summers of the Police. On I Advance Masked, Fripp and Summers played all the instruments. Bewitched was more dominated by Summers, who produced the record and collaborated with other musicians in addition to Fripp.
In 1982 Fripp produced and played guitar on the Keep On Doing album by The Roches. Similar to his previous guesting on David Bowie's Scary Monsters (which also boasted Pete Townshend and Chuck Hammer on infinite sustain guitar), the "skysaw" guitar style which characterized this period of Fripp's pedagogy is featured alongside the sisters' songs and harmony.
Fripp was offered a teaching position at the American Society for Continuous Education (ASCE) in Claymont Court, West Virginia in 1984. He had been involved with the ASCE since 1978, eventually serving on its board of directors, and had long been considering the idea of teaching guitar. His course, Guitar Craft, was begun in 1985, one of the results of which was a performance group, "The League of Crafty Guitarists," which has released several albums. In 1986, he released the first of two collaborations with his wife, Toyah Willcox. The members of the California Guitar Trio are former members of The League of Crafty Guitarists, and Gitbox Rebellion includes several former Guitar Craft students. The California Guitar Trio has also toured with King Crimson.
Fripp returned to recording solo in 1994, using an updated version of the Frippertronics technique that employed digital technology instead of tapes to create loops. Fripp released a number of records that he called "Soundscapes," including 1999, Radiophonics, A Blessing of Tears, That Which Passes, November Suite, and The Gates of Paradise. (Pie Jesu consists of material compiled from A Blessing of Tears and The Gates of Paradise.) On the Soundscapes recordings, the inner workings of the music are not as clearly laid bare as they are on Let the Power Fall, perhaps due to the greater possibilities offered by the new technology.
Fripp's collaborations with David Sylvian feature some of his most exuberant guitar playing. Fripp contributed to Sylvian's twenty minute track "Steel Cathedrals" from his Alchemy - An Index Of Possibilities album of 1985. Then Fripp performed on several tracks from Sylvian's 1986 release, Gone To Earth.
At some point in late 1991, Fripp had asked Sylvian to become the vocalist for the reforming King Crimson. Sylvian declined the invitation, but proposed a possible collaboration between the two that would eventually become a tour of Japan and Italy in the spring of 1992. In July of 1993, Sylvian and Fripp released the collaborative effort The First Day. Other contributors were soon-to-be King Crimson member Trey Gunn on stick and nearly-was King Crimson member Jerry Marotta on drums. When the group toured to promote the CD, future King Crimson member Pat Mastelotto took over the drumming spot. The live document Damage was released in 1994, as was the joint venture, Redemption - Approaching Silence, which featured Sylvian's ambient sound sculptures (Approaching Silence) accompanying Fripp reading his own text (Redemption).
In late 1994, Fripp re-formed the 1981 lineup of King Crimson for its fifth incarnation, adding Trey Gunn and drummer Pat Mastelotto in a configuration known as the "double trio". This lineup released Thrak in 1995.
From 1997 to 1999, and again in 2006, the band King Crimson "fraKctalised" into five sub-groups known as ProjeKcts.
2000 saw the release of a studio album, The ConstruKction of Light, from a sixth lineup of King Crimson (Fripp, Adrian Belew, Trey Gunn, Pat Mastelotto) with The Power to Believe following in 2003.
In March of 2004, a seventh lineup had been formulated and practiced with Tony Levin returning to replace Trey Gunn. This permutation of King Crimson has yet to release an album or perform live. A likely "fortieth anniversary lineup" has been discussed as well. Members of this lineup and more precise formation dates have yet to be officially announced.
During 2004, Fripp toured with Joe Satriani and Steve Vai as the guitar trio G3.
Robert Fripp worked at Microsoft's studios to record new sounds and atmospheres for Windows Vista.[2][3]
In late 2005 and early 2006, Fripp joined Bill Rieflin's improvisational Slow Music project, along with guitarist Peter Buck, Fred Chalenor (acoustic bass), Matt Chamberlain (drum kit) and Hector Zazou (electronics). This collective of musicians toured the west coast in May of 2006.
In October 2006, ProjeKct Six (Robert Fripp, Adrian Belew) played at select venues on the east coast of the U.S.[2], opening for Porcupine Tree.
Fripp has contributed soundscapes to two songs for Porcupine Tree's Fear of a Blank Planet. He is featured on the tracks "Way Out Of Here" and "Nil Recurring", the second of which was released in September 2007 as part of the "Nil Recurring" EP.
Robert Fripp of King Crimson is presently at odds with Last.FM, and has undertaken a prolonged series of actions against the company, and this website. Currently, he has:
- disallowed any of his music from being streamed
- disallowed any images from being posted (especially album art)
- disallowed this page to show up in search.
He has pursued similar restrictions against many other websites and companies violation of copyright, with many new restrictions still pending. These events and how people feel about them (including Fripp himself) are well-documented on this and other sites, and so this summary of recent events is a legitimate, relevant, and current dimension of the history of this musician (and thus a dispassionate, noteworthy portion of Fripp’s bio).
Fripp keeps an online diary at DGMLive
Next Generation of King Crimson
Robert Fripp Lyrics
We have lyrics for these tracks by Robert Fripp:
1989 No hay otra cosa mas linda que tus ojos Y el…
20th Century Dreaming Cold morning Start of another day Sleeping through the epilo…
Brightness Falls Baby, baby I hate to go Don`t leave me alone with this…
Chicago I smile like Chicago She laughs like the breeze I try so…
Damage I found the way By the sound of your voice So many…
Disengage Mrs Marion is strict with her servant Behind locked doors o…
Every Color You Are touched his hand Burned like coal Put pay to the devil And s…
Exposure J.G. Bennett: It is impossible to achieve the aim without…
Firepower He beats the door and breaks his watch Raids the fridge…
gone to earth With a burning candle, A book of holy things, They'll thro…
Häaden Two J.G. Bennett: If you know you have an unpleasant nature…
Here Comes the Flood When the night shows the signals grow on radios All the…
I May Not Have Had Enough of Me But I've Had Enough of You That is the way it is because it is that…
Jean the Birdman He gambles on the saddle He's pulling on the mane He thrashe…
Mary That a creature could be so lonely It became my deepest…
North Star North star we stare How far how clear Now touch touch here …
NY3 Father: Your house Daughter: My house Father: Your house Dau…
Postscript Brian Eno: So the whole story is completely untrue. A…
Preface '''Brian Eno:''' Uh... Can I play you... um... some of…
riverman I see your eyes light up like fire It's medicine to…
Under Heavy Manners Trumpets I can hear trumpets Solipsism Euphemism Pessi…
Water Music I J.G. Bennett: From the scientific point of view it is…
wave It seems that I remember I dreamed a thousand dreams. We'd…
You Burn Me Up I'm a Cigarette You burn me up I'm a cigarette You hold my hand…
The lyrics are frequently found in the comments by searching or by filtering for lyric videos
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JON BONG JOVI
and actually, it looks like he SHOULD commit to 2019 tech:
looks like MOST of this rig is.... 1980s tech!
it's absurd that he needs all that gear.
he could easily get rid of ALL THAT TECH and have just 2 friggin' iPads for all his sound modules etc. WOW.
inefficiency drives me nuts!
my business model is FANTASTIC!
my profit margin is 100 - 200% (!!) vs Taylor Swift or U2's 2% profit margins, cuz i only play outdoors (which is much nicer than playing indoors) and I get paid to PRACTICE outdoors every day and nite, and strangers say I make their lives better.
Plus, i can play the SAME CITY every day for 20 years, which Metallica and U2 cannot, cuz they foolishly ONLY PLAY TO THE CHOIR / CONVERTED, which is insane if you think about it.
MY AUDIENCE IS EVERY PERSON WITH EYES AND EARS, all ages, all walks of life, all different p eople who've never heard AVANT instrumental music like mine!
Also, often strangers give me $20 tips (!) or $50 tips or $100 tips!
NEVER ONCE did a Zeppelin fan or KC fan say "$10 admission? Hell, i'll give you $100 instead!"
and they're paying me $20 for 1 MINUTE OF MUSIC! How's that for hyper-efficiency!
Metallica's audience is ONLY ppl who have heard of Metallica and like Metallica!
Imagine if they played to ALL humans every day!
Their audience would be 99% bigger, see?
I try to get all musicians to practice outdoors, outdoors, outdoors, but it's not happening.
(COVID was FANTASTIC for my business, bc i'm OUTDOORS always!!)
Fripp and everyone else was out of business, cuz NOT EFFICIENT.
JON BONG JOVI
EXCEPT.......holy smokes is his rig INEFFICIENT.
My goodness.
Not smart artistically OR business-wise.
(At its best, touring is SUPER-inefficient. For every dollar a Metallica makes, 98 cents of that goes back into paying basic costs cuz America is stooopid big. Now add TWO MORE DRUMKITS! Yikes.)
Plus his rig looks like it's $100,000 of gear!
And even worse, every night it has to be taken apart and put back together! HOW's THAT FOR HYPER-INEFFICIENCY!
(If ya want all that gear and 3 drumkits..... you set up many cameras in your UK rehearsal space, with nice lighting, and you FILM AND RECORD dozens of hours of this line-up, improvs galore, and classics over several weeks. TA-DA: KC now has another 100 DVD / CDs of improvs to sell fans..... and then.....YOU GO ON TOUR with a STRIPPED DOWN, efficient Power Trio KC with almost no gear!)
(LIFE IS ALREADY TOO COMPLICATED to be adding to that complication.)
LOOK AT ALL THE SOUNDS I GET....out of my $80 USED Boss delay pedal.....my $140 electric uke.....and a $120 BATTERY amp!
https://www.youtube.com/watch?v=S_vxQOH051U&t=106s
KEEP IT SUPER-SIMPLE, people!
Your lives will be far better for it!
JON BONG JOVI
@Pulse2AM I just invented a new standard tuning that couldn't be MORE EASY!
CONVENTIONAL tuning has you tune in unison at the 5th fret (I refuse to learn the letters of the strings or chords) but that protocol CHANGES to the 4th fret at the 4th-highest string..... (it's the only string pair that doesn't play the regular power chord, due to that one-note difference tween all the other string pairs on a 6 string.).....
.....so THAT DROVE ME NUTS as a musician / visual artist, bc you couldn't play the same patterns across all 6 strings....due to that anomaly tween the upper strings and the lower strings....
.....my "solution", which turned out to be perfect....was to MOVE that one-note shift to the NEXT LOWEST PAIR.....
....so NOW my guitar is split EVENLY....these 3 low strings, these 3 high strings.....and I LOVE it for my lead playing etc, ditto chords.
WOW am i terrible at explaining this!
JON BONG JOVI
i've never seen a guitarist with a HUGE RIG.....who needed 99% of that crap, sigh.
but humans tend to believe more is more and we're often taught this, sigh.
Ha, i wanted to do the opposite, but I was too busy.
With just Radio Shack stuff, I was going to build a couple DUMMY stacks of racks of fx, with lots of BLINKING LIGHTS etc, so it looks like I've got 20 supercomputers behind me (!!) but none of it is real, ha ha!
Reminds me of one of my bands......who, since most of my bands are ART-ROCK or proggy.....this special band whipped out Music Stands and Sheet Music.... and then went into AC/DC CRUNCH ROCK....the joke being that we needed help to play REGULAR ROCK, ha ha, cuz our brains were wired for complicated time signatures and harmonies!
LES PAUL used to do a lot of PRANKS like that too.!
Look up some of the vids on him here on YT!
EX:
he'd compose a guitar lead, then record it, then DOUBLE it's speed (and pitch, cuz back then it had to speed up the pitch unlike today's tech)....then MIME TO THAT (!!!) guitar lead that was now sped up and at a crazy pitch, to FOOL the viewers!
I love stuff like that!
EX:
I wanted to compose a "guitar solo" that sounds like a baby crying, using actual baby sounds or trying to fake it myself with my voice.... and you have that PRE-RECORDED....but in the music video or live onstage, I have "composed" the MOVEMENT on the guitar, to perfectly mimic the baby's erratic and somewhat melodic wailing (!)....get it? YOU ARE LOOKING AT MY GUITAR SOLO.....and it sure looks like I AM PLAYING THAT CRYING BABY / GUITAR SOLO...but I'm just miming to the pre-recorded baby-voice solo I made!
MY TOP GOAL as a musician is blow minds and make ppl feel like tey're on drugs without having to buy drugs or take drugs!
https://www.youtube.com/watch?v=S_vxQOH051U&t=106s
JON BONG JOVI
i might have the most insane rig of all time, bc i always hated that FX are mostly ON or OFF. (Step ON the fuzz, step OFF the fuzz. I want to CONTROL every pedal with my foot, ala a wah wah. Like i strum a clean chord.....and slowly fade the fuzz IN!)
MY CHEAT SOLUTION was to create an A line of FX pedals...and a B line of FX pedals.... both with volume pedals at the END of the chain.
SO I'M PLAYING USING ONLY LINE A...... and then I can volume pedal in ANYTHING i want on line B, get it? I called it my "Gradual FX system" aka GRADFX.
SO AMAZING.
Like legos! I could just WAH WAH my echo (!!) or use the whammy pedal JUST on my echoes (!!), see? The possibilities were endless, and it was AS LOW-TECH as possible!
(ex: i'd play a guitar melody...then my delay / echo would follow on line B, with only ONE repeat.... but i'd pitchshift it down to sound like a bass..... SO IT SOUNDED LIKE I WAS PLAYING wild lines, and then a BASSIST was parroting me like an echo! So good!!)
BUT OF COURSE at my first NYC gig with it... it only took ONE problem to put me out of business! (Cuz i'd need 20 minutes to FIND OUT WHICH patch chord or pedal went wrong, argh!)
NOW My rig is 3/4 guitar or electric uke (SIZE MATTERS!), ONE boss delay / looper, and a Battery amp, and my life is HEAVEN!
no more hassles!
(Just use the GradFX system at home or for recordings!)
(i'm still shocked Fripp took 3 drummers on tour. How expensive is just their freight bill on planes?!?!!)
JON BONG JOVI
have you heard the horror stories about EVH?
(especially when he was an angry drunk)
Reportedly he'd go thru techs like water.
EVIDENTLY, EVH has super-strong grip, so his guitar tech has to tune the ENTIRE guitar a touch FLAT (!!) so when EVH is playing, he hard grip doesn't push it all sharp!
Yikes .
JON BONG JOVI
thhis was a fun trick I used to do:
many guitarists will SPLIT their signal so they are coming out of TWO AMPS, for a much richer sound (etc etc)...but I would put one amp BEHIND THE AUDIENCE at the back of the room..... that would be AMP "B", and AMP "A" would be onstage with me..... so I could SLAM A POWER CHORD..... and hit the crowd from the FRONT.....but then my SILENT "Line B" going to AMP B.... would have more sick distortion and other effects on it..... so i'd slam a power chord....and then using the volume pedal going to AMP B.... I'd SWOOP IN the much bigger / crazier sound of LINE B......BEHIND THEM, startling them every time!!
I guess I should call that trick "SIDEWAYS STEREO", ha ha. (only 2 channels but we usually go left / right for our ears, where I went front / back ha!)
THERE'S A CRAZY VIDEO ON YOUTUBE of TOM SCHOLZ of BOSTON...showing off his space pedal he built himself! (Only 2 on earth!)
Instead of moving like a wah-wah pedal, it moves in ALL 4-directions (!!) and so he has massive control over his tone / fx like nothing you've ever seen SINCE!
HarveyCan 58
Those look like Fender 355 picks. Big ol' triangles, really hard to drop. They come in thin, medium and heavy. I think the mediums are. 60 and the heavy might be 1.0 or close to it. The mediums are great for acoustic, nice and brushy, but can dig in a bit when needed. Very precise feel for flat-picking. The heavy size is great for electric. They last a long time. Can buy by the gross! On Reverb.
A company called Pick Boy, also on Reverb, makes a 1.0 and 1.5 big triangle shape, too. They are listed as a Bass pick. Black or rainbow color!
A UK site on Reverb has big triangle picks, too, called Alice brand, they have various thicknesses. Great colors!
Alice and Pickboy sell in smaller quantities, but good to try out, then buy your gross. The Fender picks were like $25 or $30 for a 100 or a gross, as I recall, or can get smaller packs, too.
Certainly my favorite pick! Glad to see that Fripp took my advice Lol!
JON BONG JOVI
I KNOW!! To me it's nearly offensive, like giving kids coca-cola (!) or packaging waste that's drowning the planet!
HOW MUCH is their FREIGHT BILL on airlines...for the 3 drumkits!!
You could eliminate 99% of this gear with no difference to the shows!
EASY SOLUTION:
you record / film for 3 weeks at UK rehearsal studio....cuz you only need to set all this junk up ONCE and break it down ONCE....
....THEN...when you tour, you go out with the EFFICIENT power trio with almost no gear!
LOGIC MATTERS.
Humans love waste and inefficiency with a passion!
Ricky Tenderkiss
@Michael Miller - Do you play guitar? String breakage at that tuning (and other alternate “high” tunings) is a well-documented issue. https://lmgtfy.com/?q=%22new+standard+tuning%22+strings+breaking
It can be worked around with different string gauges, outside of the usual ranges. Mr. Fripp has written that, at the time he was first toying with an all-fifths tuning, such gauges were a little harder to come by, which is why he finally opted to instead tune only his second through sixth strings in fifths while his first string is tuned a minor third apart from his second string: to reduce breakage.
To new players out there, thinking of toying with NST: you may have to shop around, and buy strings separately in the individual, optimal gauges for best tension, intonation, etc., although at different times various companies have sprung up offering 6-packs of acoustic or electric strings best-suited to NST. Writing in 2019, these people may still sell you a full set of acoustics: http://www.guitarcraftguitars.com/vgstrings.html
If you plan on toying with NST for any length of time, you’ll also want to adjust your truss rod to avoid any eventual damage. If you’re thinking of adopting NST permanently, or of dedicating one of your guitars to it, you’ll also want to file your nut to accommodate the heavier-gauged C and lower G strings, or of having your luthier carve you a new nut entirely.
This musician’s 2004 blog post outlines some of the intricacies of adopting NST and of suiting your instrument to it: http://www.brianrobison.org/index.htm?performance/nst.htm
Good luck to all! 🙂❤️🎸
Solar Guitar Studio
Eventide put samplers in the 3500, 4500, 7500, Orville, H8000, and 9000. Samplers are digital recordings, accurate and lossless. A sampler will record once, and cannot record while playing so building a multi layered loop requires two. Triggering playback and record for the samplers is done with MIDI and involves a bit of tap dancing. They aren’t ideal loopers for this reason, there are better alternatives. However, using an Eventide sampler is a great way to capture ideas before they fade. Without needing to turn to a computer, one button starts the recording. Ideal for the initial capture and then a tempo can be determined from there. Start and End points can be fine tuned, the overlap can be blended for continuous loops that fit perfectly. They can be timed precisely and sync’d to drums using the trims. Building upon that with a 2nd sampler does require perfect timing, and with a specific tempo can prove difficult, as the sample will wander out of sync. A live drummer, however, could easily keep time with it and stay sync’d. The benefit of a sampler is in pitch detuning, because the sample will retain the original signal. Pitch shifters are synth sounds themselves, and that’s why shimmers are always ear piercing.
Eventide’s are best positioned after a speaker, because an amp will thrive on analog, respond to pick attack. Putting an Eventide before the amp will square off and digitize the signal being amplified which changes the amps performance. A mic preamp is best suited to provide the source signal for a Harmonizer, it will add reverbs and delays based on that sound. An AxeFX is equally suited to provide the source audio, as they somewhat accurately simulate a full amp chain and provide line level signal that Eventides process.
AxeFX units can do the entire process within, the only aspect missing is Eventide’s legendary algorithms. Someone who prefers Eventide, such as myself, does so due to the algorithms prebuilt into each Harmonizer, over 1000 useful patches that can be heard on hundreds if not thousands of recordings since the 70s.
Eventides are post processors. They’re great in studios but can be implemented live if the signal is kept traditional. Plug a guitar into an amp. Sometimes Wah is up front, otherwise everything else can be done post process. There is extra control with mix blending, wet signals kept separate from dry, as in a parallel mix. This will offer some of the best tone available.
Nothing to snooze about here. This guy understands signal flow.
Premier Guitar
Photos and more: http://bit.ly/RobertFrippRR
Don't Miss a Rundown: http://bit.ly/RIgRundownENL
Subscribe to PG's Channel: http://bit.ly/SubscribePGYouTube
iqbal feluzzi
My favorit guitarist
Haroun El-Poussah
@Ricky Tenderkiss : Omenie's Mellotronics M3000
G-Force's is named M-Tron and is awesome, there are even some instrument loops you've surely heard somewhere (KC? Beatles?)
Ricky Tenderkiss
@Premier Guitar - The people who make Mr. Fripp’s Mellotron app that Biff demoed but couldn’t remember the name of, the folks who sampled the original Mellotron and Orchestron and so forth — could they be G-Force Software, perhaps?
MerkinMuffly
Robert Fripp once made a deal with the devil. No one knows what Fripp got, but the devil got guitar lessons.
nuraksatra nadhif
Ill take your words for it
Claes vanOldenphatt
@Free State of Easter Islands that’s Il Diavolo to you, bub.
Andy Hinds
It's comments like this that make me love YouTube.
Claes vanOldenphatt
@beemerboomer Charlie Daniels couldn’t teach him jack sh*t.
Sheffield Dave
@Free State of Easter Islands Probably,given the infinite death loop you put him in,boss.