#b: Fender Precision Bass

[thekingofgear]

Jonny’s May 2022 Pedalboard at  Amsterdam’s Paradiso

Jonny playing The Smoke at Amsterdam’s Paradiso (karindgr). Note the pedals resting on top of the Rhodes piano next to the Prophet 5 REV4 synthesizer: those are used with the Prophet.

Jonny experimented with some new pedals during The Smile’s rehearsals in late-2021 and early-2022, including a Strymon Timeline, a Nano POG, and a vintage Ibanez TS-808. But by the end of rehearsals, he had settled on a relatively concise setup with eight pedals for his guitar. He subsequently used that setup for The Smile’s three live-streamed shows at London’s Magazine in January.

However, it seems that Thom and Jonny are both using the Smile’s 2022 European tour to experiment with even more pedals! So far, Thom’s new Grand Orbiter pedal helped to inspire the new song Bodies Laughing. As for Jonny, probably the most notable addition is his new Earthquaker Devices Pyramids flanger, which seemingly helped to inspire the new song IT/Flangers.

Jonny’s guitar pedalboard has most of the pedals from the Magazine shows, and he’s started to use his DD-200 instead of his RE-20 on even more songs (including The Opposite)! He has stopped using his Demeter Tremulator (set as a 6db boost during Thin Thing at the Magazine shows) and his big box Electro-Harmonix Small Stone, but he’s added more than he’s taken away. His board at Amsterdam’s Paradiso includes an Earthquaker Pyramids, an Earthquaker Organizer, and one of Thom’s old Telenorida Kompressors! He also has a Boss LS-2, with cables connected to the A and B outputs, but not the main output.

The following is a list of Jonny’s pedals for The Smile’s performance in Amsterdam on May 27, 2022. However, Jonny continued to adjust his pedalboard during the tour, as we’ll see in a future post. The signal order is based on his setup for the Magazine and other past pedalboards.

Guitar Signal Chain

Gibson Les Paul Standard (vintage)

Boss TU-3 tuner

Earthquaker Devices Pyramids flanger ↑ IT/Flangers

Telenorida Kompressor

Earthquaker Devices Organizer pitch-shifter ↑ Feeling Pulled Apart By Horses (?)

Electro-Harmonix Freeze ↑ Skirting On The Surface (outro solo)

Boss SD-1 super overdrive ↑ The Opposite, Thin Thing

Akai Headrush E2 looper ↑ Skirting On The Surface

Boss RE-20 Space Echo ↑ The Smoke The Opposite (with reverb knob at maximum), Skirting On The Surface (outro only)

Boss DD-200 delay ↑ The Opposite, Thin Thing, Just Eyes and Mouth, Under Our Pillows, IT/Flangers

Boss LS-2 line selector ↑ may be part of bass setup instead.

Radial Engineering DI box ↑ sits on top of Jonny’s amp. Sends output to both the amp and the PA.

Fender ‘65 Reissue Super Reverb combo amp

Electro-Harmonix single-output expression ↑ off-board, connected to RE-20.

Bass Signal Chain

Fender Precision Bass (vintage)

Boss TU-3 tuner

Radial Engineering DI box ↑ sits on top of Jonny’s amp. Sends output to both the amp and the PA.

Ampeg SVT-CL amp head (late-90s)

Ampeg SVT-810 cabinet

MIDI Pedals

Studiologic MP-117 MIDI pedalboard ↑ controls Jonny’s synth modules on The Opposite, Waving a White Flag, We Don't Know What Tomorrow Brings, Just Eyes and Mouth, and Feeling Pulled Apart By Horses.

Blackstar Live Logic 6-button ↑ controls a Max/MSP patch to loop Thom’s vocals on A Hairdryer.

Prophet 5 Signal Chain

Sequential Circuits Prophet 5 REV4

Peterson StroboStomp HD tuner

Earthquaker Devices Avalanche Run delay/reverb

Radial Engineering DI box -> FOH mixer -> PA speakers

A closeup of Jonny’s pedalboard during The Smoke at Amsterdam’s Paradiso (karindgr). The black rectangle at the top center of the image is a Blackstar Live Logic 6-button MIDI footcontroller.

Edited: September 4, 2022.

[masatakeabe]

8月

　

8/3(土)open13:30 start14:00

東北沢OTOOTO

"友達の家に泊まった時の、寝入り端の対話 その2"

菊地雅晃el-b　-Fender Precision Bass（no effect）

阿部真武el-b　-Rickenbacker 4003 （no effect）

¥2000

　

　　

8/4(日)

荻窪ベルベットサン

阿部真武 electricbass

福島誠　piano

秋元修　drums

　

　

8/18(土)19:30-

西荻窪clopclop

阿部真武　　electricbass

細井徳太郎　electricbass

岩本次郎　　drums

¥3000+order

　　

　　

8/18(日)

新宿pitInn

TBA

　　

　　

8/31 (土)

中野SweetRain

栗田妙子　piano

阿部真武　electricbass

[titxxn]

( i got a band verse on this blog, so it's time for an obligatory robin's instruments post !!!!! )

yamaha fsx800c acoustic electric guitar

fender stratocaster electric

fender cd-60s dreadnought acoustic

larry carlton h7 electric

fender player precision bass

yamaha cp88 88-key stage piano

steinway & sons model B conservatory grand piano (this one's been in his family for two generations)

[fotolite661]

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Other content:

[slapthebass]

Source: @toshiyagallery on Twitter

[bassdarling]

Adeline and her pink P-Bass (via Adeline’s Instagram)

[rushingheadlong]

Huge thanks to a very dear friend who bought this article out from underneath me from an ebay auction, and then sent to me as a surprise!

Originally published in Melody Maker in late 1974 (exact date unknown). Full article text below the read more.

The MERLIN File

EVOLUTION: Merlin's manager, Derek Chick, and Allan Love decided in May 1973 to form a new London-based group that would incorporate three basic essentials: musicianship, image and stage presentation. After extensive auditions and rehearsals the band was gigging by July under the name Madrigal, which was changed in February 1974 to Merlin.

PERSONNEL CHANGES: Jacob Magmusson (keyboards) left in October 1973 and Paul Taylor (bass) in September 1974.

ORIGIN OF NAME: Scully Wagon-Lit's idea in the van going to a gig.

FIRST PUBLIC APPEARANCE: Zero 6, Southend, 17/July/1973.

FIRST BROADCAST: BBC Radio One David Hamilton Show and Radio Luxembourg Power Play consecutively in March 1974.

FIRST TELEVISION: Scottish TV's Showcase in November 1973.

MANAGEMENT: Derek Chick, Chic's Own Music and Management Ltd, 246/248 Great Portland Street, London W1 (01-381 6192/3).

AGENT: Barry Collings Agency Ltd, 15 Claremont Road, Westcliff-on-Sea, Essex (0702-47343/43464).

RECORDING COMPANY: CBS Records Ltd, 28-30 Theobalds Road, London WC1 (01-242 9000).

RECORD PRODUCER: Roger Greenaway.

MUSIC PUBLISHING COMPANY: Shapiro, Bernstein and Co Ltd, 246/248 Great Portland Street, London W1 (01-387 6192) and Grenyoco Music Ltd, 108 Park Street, London W1 (01-493 6439).

FAN CLUB: Ling, 17 Gladstone Park Gardens, Cricklewood, London NW2.

BRITISH TOURS: 47 dates 1/March-28/April/1974 Top Rank ballrooms, clubs and colleges. Solo tour.

AMERICAN TOURS: None.

TRANSPORT: Ford DO607 3-ton truck for the equipment and Audi 100 for the group.

STAGE MANAGERS: Iain Ward (Sound Engineer), Chris Taylor (Lighting Engineer), "Speedy" (Stage Roadie), "Crystal" (Assistant Lighting Engineer).

SINGLES: "(Let Me) Put My Spell On You" c/w "Just ANother Fish On My Hook (CBS, 1/March/1974), "Alright" c/w "Pictures In My Mind" (CBS, 28/June/1974), "Wild Cat" c/w "Half A Man" (CBS, 1/Nov/1974).

ALBUMS: "Merlin" (CBS, 25/Oct/1974).

P.A.: 1400-watt JBL system comprising Kelsey 16-channel stereo custom mixer, 4 x DC3000 Crown amps, 4 x bass bins with 2 x 15 inch JBL speakers in each, 2 x mid range JBL horns, 2 x high-frequency JBL boxes with lens horns, two bullets. Microphones are 8 Sure Unidyne III 545, 2 AKG 190C, one AKG D12, 4 Calrec condensers, 4 Sims Watts condensers, 3 Sure Unisphere B. Binson Echorec and Mavis 3-way active stereo crossover with stage boxes, cables, etc. Lighting comprises 6 x 100 watt Strand Floods on stage, 30 x 200 watt Strand Floods on stage scaffolding, 3 x Strand 1,000-watt follow spots and stands, 2 x Strobes and a Strand dimmer board.

ALAN LOVE: Vocalist

BORN: Hampsted, North West London. 13/Dec./1952.

EDUCATED: Challoner School, Finchley, North London.

MUSICAL TRAINING: None.

MUSICAL CAREER: Has been professional for seven years, playing in Opal Butterfly from 1967 to 1969 with Simon King (Hawkwing) and Tom Doherty (Sting). Referendum from 1969 to 1973 and Madrigal/Merlin from 1973.

OTHER OCCUPATIONS: None.

MUSICAL INFLUENCES: Mick Jagger, Joe Cocker, Little Richard.

COMPOSITIONS: "Half A Man," "Space Raider" and co-wrote with Gary Hardwick "Getting Involved" all recorded by Merlin.

FAVOURITE SINGLES: "Something In The Air" (Thunderclap Newman), "McArthur Park" (Richard Harris).

FAVOURITE ALBUMS: "Tapestry" (Carol King), "Court Of The Crimson King" (King Crimson), "Bridge Over Troubled Waters" (Simon and Garfunkel).

FAVOURITE MUSICIANS: Paul McCartney, Steve Howe, Tom Doherty.

FAVOURITE SONGWRITERS: Lennon and McCartney, Cat Stevens, Carol King.

FAVOURITE SINGERS: Joe Cocker, Neil Diamond.

RESIDENCE: Bachelor flat in Wandsworth, South West London.

INSTRUMENTS: None.

GARY ALICE STRANGE: Bass, vocals and guitar.

BORN: Hampsted, London. 26/Oct./1952.

EDUCATED: Whitefield School, Barnet.

MUSICAL TRAINING: Three classical guitar lessons and then self taught.

MUSICAL CAREER: Various semi-pro bands and wrote first song aged 16 featured on ATV programme "Come Here Often." Former band with Dave Martin called March Hare and recorded LP for MAM. Group then changed to newly-formed Kinks Production Company, but after few months of touring with Kinks and recording, split up. Joined Merlin.

OTHER OCCUPATIONS: Director of La Starza Palace Studio.

MUSICAL INFLUENCES: Beatles, Stones, Free, Average White Band.

COMPOSITIONS: "Gipsy Rose Lee" and "Lay Me Down" for March Hare both issued as singles by MAM.

FAVOURITE SINGLES: "I Am A Walrus" (Beatles), "Need Your Love So Bad" (Fleetwood Mac), "Little Bit Of Love" (Free), "Amoureuse" (Kiki Dee).

FAVOURITE ALBUMS: "Elf" (Elf), "Sgt Pepper" (Beatles), "Talking Book" (Stevie Wonder).

FAVOURITE MUSICIANS: Andy Fraser, David Martin, Peter Green, Liberace.

FAVOURITE SONGWRITERS: Lennon and McCartney, Holland, Dozier and Holland, Lional Bart and Paul Simon.

FAVOURITE SINGERS: Paul Rodgers, Elvis Presley, Tina Turner, Rod Stewart.

RESIDENCE: Single and lives in Hampstead, North West London.

INSTRUMENTS: Fender Precision Bass with thin maple neck. Hagstrom six-string guitar with pick-up. Kemble baby grand piano. Rotosound Roundwound strings. Orange 120-watt amp with 2 x 15 inch reflex cabinets.

JAMIE MOSES: Lead guitar and vocals.

BORN: Ipswich, Suffolk, 30/Aug/1955.

EDUCATED: Schools in America and Japan. Shirley High School and Redhill Technical College in Surrey.

MUSICAL TRAINING: Self-taught.

MUSICAL CAREER: Given first guitar when ten, formed first band at 11. Formed the Inferno, 1969-71, in Japan, doing gigs, radio, TV. Came to England in 1971, worked with semi-pro bands and at a music shop in Croydon. Formed Angel with Scully 1972 and recorded LP of original material. Joined Madrigal July 1973.

MUSICAL INFLUENCES: Jimmy Page, Paul Kossoff, Beatles.

COMPOSITIONS: "Just Another Fish On My Hook", "Gypsy", and "He Thinks About You All The Time" all recorded by Merlin. Co-wrote "Angel" LP with Scully.

FAVOURITE SINGLES: "Livin' For The City" (Stevie Wonder), "Can't Get Enough" (Bad Company), "Joybringer" (Manfred Mann's Earthband).

FAVOURITE ALBUMS: "Foxtrot" by Genesis.

FAVOURITE MUSICIANS: Genesis, Steve Howe, Free, Scully Wagon-Lits.

FAVOURITE SONGWRITERS: Paul McCartney, Genesis, Stevie Wonder.

FAVOURITE SINGERS: Paul Rodgers, Peter Gabriel, Mario Lanza and David Coverdale.

RESIDENCE: Is single and lives with his parents at Sanderstead, Surrey.

INSTRUMENTS: White Les Paul Deluxe (1973) and black Les Paul Custom (1974), both with Rotosound ultra-light strings and Gibson plectrums. EKO 6-string acoustic guitar with La Bella strings. Hiwatt 100-watt amp fitted with half power switch for distortion and sustain at almost any volume. Two 2 x 15 Fender Dual Showman JBL Cabinets. A cheap Japanese fuzz box with a three-tone fuzz switch.

SCULLY WAGON-LITS: Keyboards, guitar and vocals.

BORN: Balham, South West London, 20/Dec./1953.

EDUCATED: Henry Cavendish (Balham), Bec School (Tooting) and Archbishop Tennison (South Croydon).

MUSICAL TRAINING: Guitar lessons at night school for one year aged eight, cello at school for three years and double bass for two months, but is self-taught on keyboards.

MUSICAL CAREER: Played guitar in band in Balham (1964-65), joined Angel with Jamie (1972-1973) as semi-pros and recorded an album. Turned pro June 1973 with Big Wheel in South France. Joined Madrigal October 1973.

OTHER OCCUPATIONS: Organ salesman at Western Music and Selmer.

MUSICAL INFLUENCES: Harry Stoneham, Miller Anderson, Keith Emerson, Christian Vander.

COMPOSITIONS: "Marina," "Takin' Part," "Pictures In My Mind," etc.

FAVOURITE SINGLES: "Rock Man" (Elton John), "Space Oddity" (David Bowie).

FAVOURITE ALBUMS: "Tarkis" (ELP), "Fire And Water" (Free), "Dark Side Of The Moon (Pink Floyd).

FAVOURITE MUSICIANS: Keith Emerson, Tony Banks, Steve Howe.

FAVOURITE SONGWRITERS: Paul McCartney.

FAVOURITE SINGERS: Paul Rodgers, Stevie Wonder, Peter Gabriel, Greg Lake

RESIDENCE: Single and lives in Surrey.

INSTRUMENTS: Hamond RT3 with additional height plynth and customised guts driven through Hiwatt amps and put out through one Leslie 145 and two RSE 1 x 15 inch JBL bins and three custom-made Werlin Bat rotating horn units. Muri-Moog (modified) through Hiwatt 100-watt amp with JBL Showman Cabinet. Hagspiel grand piano, with scaffolding, miked through PA. Black Gibson SB Les Paul Junior (1960) plugged into Moog.

DAVID WIGHTWICK: Drums and vocals.

BORN: Dunstable, Bedfordshire, 25/August/1950.

EDUCATED: Priory Secondary School, Dunstable.

MUSICAL TRAINING: Self-taught.

MUSICAL CAREER: Former member of Madrigal from 1967 to 1973. The band split and was reformed with new members and retitled Merlin.

OTHER OCCUPATIONS: Varied from soldier to postman.

MUSICAL INFLUENCES: Beatles, The Move, Genesis.

COMPOSITIONS: None.

FAVOURITE SINGLES: "Say You Don't Mind" (Colin Blunstone), "Motet Overture" (Abors), "Eleanor Rigby" (Beatles)

FAVOURITE ALBUMS: "Dark Side Of The Moon (Pink Floyd), "Erismore" (Colin Blunstone), "Tubular Bells" (Mike Oldfield), "Moving Waves" (Focus).

FAVOURITE MUSICIANS: Carl Palmer, Jon Bonham, Simon Kirke.

FAVOURITE SONGWRITERS: Lennon and McCartney, Colin Blunstone, Genesis.

FAVOURITE SINGERS: Ian Billan, Colin Blunstone, Karen Carpenter.

RESIDENCE: Flat in London.

INSTRUMENTS: Hayman see-through drumkit comprising 1 x 22 inch bass drum, 1 x 12 inch and 1 x 13 inch mounted tom-toms, 1 x 16 inch and 1 x 18 inch floor tom toms, 1 x 14 inch snare drum, Ludwig/Paiste 22 inch cymbal, 1 x 22 inch and 1 x 20 inch Zildjian ride cymbals, 1 x 18 inch Zildjian crash cymbal, 1 x 14 inch Zildjian hi-hat, Ludwig and Hayman accessories and Premier C and Selmer sticks.

[chuckbbirdsjunk]

[racingtoaredlight]

“Mr. Steve Harris on the bass guitar...”

Over the past few days, I’ve learned a half dozen Iron Maiden songs.  Since September, I’ve easily learned over 100 songs, almost all of them a tributary of the big Motown/funk river.  It all started playing James Jamerson and Chuck Rainey songs, and I immediately understood why the Fender Precision Bass was so revered.

Before then...literally my entire musical life...I’ve always preferred the Jazz Bass, largely due to being a big-time Jaco acolyte.  That’s because I was a guitarist though.  I never did anything with bass other than mess around with one, so my opinion really didn’t have any weight behind it.

But the styles of music I’ve been playing since then...it’s not that the Jazz Bass doesn’t work well...it’s that the Precision Bass is perfect.  I knew the history of the instrument since it ran parallel to both the Telecaster and Strat, but once I started looking for P-Basses, I saw them everywhere.

Iron Maiden has been a band I’ve loved since I was a teenager.  I associated P-Basses with him as much as I learned to associate it with guys like Jamerson, Rainey, Duck Dunn and basically every major session bassist to exist.  He just happened to be the first bassist who’s band I loved that was a P-Bass lifer.

The P-Bass is the ultimate bass tool because of how easily it fits into a variety of musical styles.  I mentioned a few above, I even talked about the P-Bass in punk earlier in the month, and I figured it’d be a good time to talk about how Steve Harris used it to define Iron Maiden’s sound.

***

There’s no better song to illustrate Steve Harris’ signature characteristic than “Run to the Hills.”  The gallop.

First off, can you think of anything better thematically for a high-tempo gallop than a Wild West, cowboys vs. Indians setting?  The gallop is what defined Iron Maiden’s sound more than anything, even more than Bruce Dickinson’s operatic vocals.  It gives their music this outrageously powerful forward momentum, becoming seemingly unstoppable once they get to full speed.

What makes Iron Maiden different from a lot of metal bands is that Harris is the foundation, something rarely seen in a genre dominated by the guitars.  For direct contrast, take a listen to Metallica’s ...And Justice For All.  You might not even notice the bass being there at all.

Iron Maiden has shifted guitarists throughout their existence, adding all three of them to the permanent lineup a few decades ago.  With Harris providing such a strong, foundation with the bass, having three guitarists on tap to do these awesome harmonized melodies gives them this massive flexibility and allows them to cover a huge amount of sonic real estate.

When you don’t have to sacrifice a guitarist to play the main riff, you can make up the ground you lose with the huge sounds by layering melodies, and giving the music an entirely new dimension.  Nobody would ever accuse Iron Maiden of not being able to lay down some heavy shit, but the flexibility they have with Harris on bass allows them to add a melodic element to that heaviness.

***

Harris’ melodic ability is another thing that makes the above possible.  He’s not some melodic liability on bass, relegated to holding down these massive sound waves...he’s nimble and able to keep pace with the blistering guitar lines.

When he’s running in stride with the guitar harmonies on “Ace’s High” you get a musical sense of fighter planes flying in tight formation, each performing their roles at Mach speed.  Then the band breaks formation, things becoming almost chaotic with these high-speed dives, and then likethat they’re back in unison.

If the bass is an afterthought...especially in metal...it’s not necessarily a bad thing.  Sometimes you want as simple of a foundation to layer harmonies and melodies over, with the bassist rarely playing anything more than 1′s and 5′s.  Mozart did this.  Oscar Peterson does this.  A whole shitload of great music has asked the bassist to play an anonymous support role.

Beethoven and Bach didn’t agree, and neither did Iron Maiden.  It’s not a better or worse type thing...just a different approach.  Having a melodic, versatile bassist gives a band the ability to do a lot of cool things.

***

I’m not writing this post because of P-Basses...it’s just kinda topical.

The reason I started writing this thing is because of the right hand.  It took all of my first run through of “Run to the Hills” to realize that playing along with Iron Maiden songs is going to be about as good of a right hand workout as masturbating.

Took all the wind out of your sails, didn’t I?

Anyways, Steve Harris’ right hand is fucking insane.  That gallop, this pulsing “bum-b-b-bum” is exhausting to keep up at such high tempos.  The first time through “Run to the Hills” it was painfully obvious when I’d start to fall back due to my arm screaming at me.  If you’re not used to keeping that tempo going, when you start to feel fatigue, your technique gets sloppy real fast.

And “Number of the Beast” is way harder than that.  The riff is staggered and weaves in and out, and if you get lost or trip up, you’re fucked.  A few days of playing these songs...taking a few minutes to work on particularly tricky sections...and it’s crazy how much my right hand technique has improved.

Playing along with songs like Tower of Power’s “What is Hip?” or Tom Petty’s “Running Down a Dream”...songs with these long, sustained lines of straight 8th or 16th notes...all of the sudden became super tight and in the pocket.  Those pulsing 8th/16th notes were fucking spot on.  And instead of tensing up during those sections, after doing immersion therapy of sorts with nothing but high-octane songs that’s basically 4-6 minutes of exactly that, I began to relax and they started to flow naturally.

***

Iron Maiden is fucking awesome.

fín

[thekingofgear]

The gear behind Radiohead’s ‘Kid A’ sound in Dublin

Highlight: Jonny’s original ondes Martenot

Radiohead’s tour dates in 2000 were the first time that Jonny publicly performed with an ondes Martenot, and also one of the few tours he performed with the original 80s Martenot played on Kid A and Amnesiac. Although today Jonny is known for popularizing the ondes Martenot in the english-speaking world, until the late-90s he hadn’t so much as seen a picture of one. He only knew it from the sweet melodies and dramatic electronic glissandi in recordings of Olivier Messiaen’s Turangalîla-Symphony. It wasn’t until 1999, when he learned of one for sale in Paris and purchased it with its Palme diffuseur, that Jonny finally became acquainted with the instrument. This acquisition would be pivotal for the recording of Kid A and Amnesiac, and in no short time Jonny was teaching himself the instrument (hence his unusual playing technique) and using it to define the sound of those albums. The songs Kid A, The National Anthem, How to Disappear Completely, Optimistic, Motion Picture Soundtrack, Pyramid Song, You and Whose Army, and Morning Bell / Amnesiac all feature the ondes Martenot – and that doesn’t include the b-sides from this era!

What differentiates the Martenot from other electronic instruments is its interface, the way that the player controls the sound. The Martenot features a very sensitive button (called the “touche”) to control volume, while pitch can be controlled by either a keyboard or a ring on a ribbon. Both the keyboard and the ring can create vibrato by rocking the hand back and forth, and one can hear Jonny play with keyboard vibrato on the album recording of Optimistic.  the ring has full control of pitch over the range of the instrument, allowing anything from minute microtones to mutli-octave slides. When using a simple waveform, sliding between notes using the ring creates a sound similar to a theremin – but with greater control – which is why Jonny is often mistaken for playing one on songs like The National Anthem and Pyramid Song.

The ondes Martenot’s sound generators changed over the decades, so different versions are capable of different timbres. While the earliest versions used vacuum tubes, and the version most common today uses transistors, Jonny’s original Martenot is from a briefly made digital version. The digital version uses additive synthesis, and Jonny generally plays with setting that has relatively few overtones, which is why it’s often mistaken for a sine wave. Although monophonic, the Martenot is capable not only of melody but also of many special effects – in fact, most people unwittingly know the Martenot from the soundtracks of films like Ghostbusters and Journey to the Far Side of the Sun.

The 2000 tour was also one of the few times that fans could hear songs performed with the same instrument used on the recordings, since Jonny quickly obtained a replica for touring purposes. Jonny was nervous about the rare Martenot being damaged, so he commissioned a replica that could control the same eurorack synth modules that he uses on Idioteque. The result was the Analogue Systems French Connection, a controller with a less sensitive interface emulating the touche and ring of the Martenot. Jonny would use the French Connection all Radiohead tours from 2001 to 2012, as well as for some recordings and tv performances. And although Jonny did tour with his original Martenot again in 2016 (he had less reason to be nervous of it breaking after getting an ondes Musicales Dierstein in 2011), that too was short lived, because Jonny ceased using the Martenot for touring once he acquired the Asaden Ondomo.

A closeup of Jonny’s ondes Martenot from The National Anthem. The Martenot’s distinctive short-depth (but full width) keys can be seen, as well as the pitch-controlling ring on Jonny’s finger.

Other notable bits:

Radiohead’s 2000 tour saw the first public uses of a ton of instruments that the band had only started using during the sessions for Kid A and Amnesiac. Perhaps most notably, it was the first time that Radiohead used looping and live sampling on tour. This was enabled by a host of performance oriented samplers, like the Korg Kaoss Pad, Line 6 DL4, and Akai Headrush, all of which were released only a year earlier in 1999. Colin bowed a double bass for the first time on Pyramid Song and Motion Picture Soundtrack – a rare treat, as Colin soon after switched to a Steinberger electric upright bass, followed in 2006 by Jonny taking over bowing on Pyramid Song with his guitar (most likely inspired by Jónsi of Sigur Ros, who opened for Radiohead on this very tour). Another rarity was the Vox Super Continental organ which Thom plays on Motion Picture Soundtrack, with the sound distorted through an Electro-Harmonix Micro Synthesizer pedal. Jonny brought his recently acquired Analogue Systems RS8000 on tour to perform Idioteque, marking the first time he’d performed with a eurorack modular synthesizer. It was also the first time Ed performed with a guitar modified to include a sustainer system. The heavily modified Eric Clapton Signature Stratocaster used for the Dublin show would be Ed’s favorite for more than a decade before becoming the inspiration for Ed’s current Fender EOB Signature Stratocaster.

A screenshot of Jonny sampling Thom’s vocals with his Korg Kaoss Pad KP1 during Everything In Its Right Place. One can also see his ondes Martenot atop his Fatar MIDI control, and the Martenot’s Akai Headrush E1 (that light grey rectangle) can be seen below them both.

Song by song:

This lists all gear used for the songs included in the official video of Radiohead’s performance at the Punchestown Race Course in Dublin on October 7, 2000. It does not include other gear used for other songs at the same show, or for the rest of the 2000 tour.

The National Anthem

Thom Yorke‘s gear for The National Anthem in Dublin

Shure Beta 87 vocal microphone

Ring modulator vocal effect from FOH mixing desk

Rickenbacker 330 in Fireglo finish

Tech 21 XXL distortion (most likely, might be another distortion pedal)

Marshall Bluesbreaker amplifier

Jonny Greenwood‘s gear for The National Anthem in Dublin

ondes Martenot (80s digital student model)

Akai Headrush E1 delay/looper (used for Martenot looping)

Roberts R737 radio (processed by Jonny’s guitar pedals)

Electro-Harmonix Small Stone V2 phasor

DOD 440 envelope filter

Demeter The Tremulator tremolo

Digitech Whammy WH1 pitch shifter

BOSS SD1 overdrive

BOSS RV3 reverb/delay

Roland RE201 Space Echo

Vox Egg footswitch (echo cancel for Space Echo)

Ed O’Brien‘s gear for The National Anthem in Dublin

Fender Eric Clapton Signature Stratocaster (ST1) “Sustainer Strat”

Crowther Hotcake and/or BOSS SD1 overdrive

BOSS DD5 delay

BOSS RV3 reverb/delay

BOSS FV300 volume pedal

Vox AC30TBX Dave Petersen Special

Colin Greenwood‘s gear for The National Anthem in Dublin

1972 Fender Precision Bass in Olympic White finish

Lovetone Big Cheese fuzz

Alembic F-1X Tube Preamp

dbx 160A Compressor/Limiter

Gallien-Krueger 800rb amplifier head

Ampeg SVT 8x10 cabinet

Phil Selway - see end of article.

Jonny adjusting the frequency on his radio while adjusting a pedal (likely his Digitech Whammy) with his right foot.

Thom with his Fireglo Rickenbacker 330 during The National Anthem.

How To Disappear Completely

Thom Yorke‘s gear for How To Disappear Completely in Dublin

Shure Beta 87 vocal microphone

Lakewood M14 acoustic guitar

Jonny Greenwood‘s gear for How To Disappear Completely in Dublin

ondes Martenot (80s digital student model)

Akai Headrush E1 delay/looper (used for Martenot looping)

BOSS FV300 (used to mute Jonny’s playing for silent looping)

Ed O’Brien‘s gear for How To Disappear Completely in Dublin

Rickenbacker 360 12-String in Jetglo finish

Crowther Hotcake and/or BOSS SD1 overdrive

Digitech Whammy WH4 pitch shifter ?

Line 6 DL4 delay/looper (as looper) ?

BOSS DD5 delay

BOSS RV3 reverb/delay

BOSS FV300 volume pedal

Vox AC30TBX Dave Petersen Special amplifier

Colin Greenwood‘s gear for How To Disappear Completely in Dublin

1972 Fender Precision Bass in Olympic White finish

Alembic F-1X Tube Preamp

dbx 160A Compressor/Limiter

Gallien-Krueger 800rb amplifier head

Ampeg SVT 8x10 cabinet

Phil Selway‘s gear for How To Disappear Completely in Dublin

Lemon shaker

In this screenshot from How To Disappear Completely, one can see Ed’s Jetglo Rickenbacker 360/12 guitar and his BOSS PN-2 tremolo/pan pedal.

Morning Bell

Thom Yorke‘s gear for Morning Bell in Dublin

Shure Beta 87 vocal microphone

Rhodes Suitcase Piano Mark I 73 electric piano

Jonny Greenwood‘s gear for Morning Bell in Dublin

Fender Telecaster Plus V1 guitar in Tobacco Burst finish

Coin (an actual coin, scrapped against the guitar’s strings to create the sound effects at the end of the song)

Electro-Harmonix Small Stone V2 phaser

BOSS SD1 overdrive

Roland RE201 Space Echo

Vox Egg footswitch (echo cancel for Space Echo)

Vox AC30TB Dave Petersen Special amplifier

Ed O’Brien‘s gear for Morning Bell in Dublin

Shure Beta 87 vocal microphone

Fender Telecaster Standard guitar in white finish

Crowther Hotcake and/or BOSS SD1 overdrive

Line 6 DL4 delay/looper (as looper, using reverse function)

BOSS FV300 volume pedal

Vox AC30TB Dave Petersen Special amplifier

Colin Greenwood‘s gear for Morning Bell in Dublin

1972 Fender Precision Bass in Olympic White finish

Alembic F-1X Tube Preamp

dbx 160A Compressor/Limiter

Gallien-Krueger 800rb amplifier head

Ampeg SVT 8x10 cabinet

A closeup of Thom’s hands at the Rhodes piano during Morning Bell.

Idioteque

Thom Yorke‘s gear for Idioteque in Dublin

Shure Beta 87 vocal microphone

Jonny Greenwood‘s gear for Idioteque in Dublin

Analogue Systems Sequencer System in RS10 cabinet

Analogue Systems RS8000 Integrator modular synthesizer

Ed O’Brien‘s gear for Idioteque in Dublin

Metal percussion shaker (possibly a guiro shaker)

Fender Telecaste Standard guitar

Crowther Hotcake and/or BOSS SD1 overdrive

Lovetone Ring Stinger ?

Line 6 DL4 delay/looper (as looper)

BOSS DD5

BOSS FV300 volume pedal

Vox AC30TB Dave Petersen Special amplifier

Colin Greenwood‘s gear for Idioteque in Dublin

Yamaha CBX-K1XG keyboard (sends MIDI notes to a sampler)

Ed with his metal shaker during Idioteque.

Colin triggering samples with the Yamaha CBX-K1XG during Idioteque.

Optimistic

Thom Yorke‘s gear for Optimistic in Dublin

Shure Beta 87 vocal microphone

Gibson ES-125 electric guitar

Marshall Bluesbreaker amplifier

Jonny Greenwood‘s gear for Optimistic in Dublin

Fender Starcaster guitar (vintage 1970s)

BOSS SD1 overdrive

Roland RE201 Space Echo

Vox Egg footswitch (echo cancel for Space Echo)

Vox AC30TB Dave Petersen Special amplifier

Ed O’Brien‘s gear for Optimistic in Dublin

Shure Beta 87 vocal microphone

Fender Telecaster Standard guitar in white finish

Crowther Hotcake and/or BOSS SD1 overdrive

Vox AC30TBX Dave Petersen Special amplifier

Colin Greenwood‘s gear for Optimistic in Dublin

1972 Fender Precision Bass in Olympic White finish

Alembic F-1X Tube Preamp

dbx 160A Compressor/Limiter

Gallien-Krueger 800rb amplifier hea

Ampeg SVT 8x10 cabinet

In this screenshot from Optimistic, Ed can be seen singing into a Shure Beta 87, while Jonny plays his 70s Fender Starcaster in the background.

In Limbo

Thom Yorke‘s gear for In Limbo in Dublin

Shure Beta 87 vocal microphone

Tambourine

Jonny Greenwood‘s gear for In Limbo in Dublin

Fender Starcaster guitar (vintage 1970s)

BOSS SD1 overdrive

Roland RE201 Space Echo

Vox Egg footswitch (echo cancel for Space Echo)

Vox AC30TB Dave Petersen Special amplifier

Ed O’Brien‘s gear for In Limbo in Dublin

Shure Beta 87 vocal microphone

Rhodes Suitcase Piano Mark I 73 electric piano

Colin Greenwood‘s gear for In Limbo in Dublin

1972 Fender Precision Bass in Olympic White finish

Alembic F-1X Tube Preamp

dbx 160A Compressor/Limiter

Gallien-Krueger 800rb amplifier head

Ampeg SVT 8x10 cabinet

Thom with his tambourine during In Limbo.

Thom at the Rhodes piano and Jonny with his Fender Telecaster and arm brace during In Limbo.

Paranoid Android

Thom Yorke‘s gear for Paranoid Android in Dublin

Shure Beta 87 vocal microphone

Lakewood M14 acoustic guitar

Jonny Greenwood‘s gear for Paranoid Android in Dublin

Shure Beta 87 vocal microphone (“ugly”, “piggy”)

Young Chang upright piano

Fatar CMS-61 MIDI controller (sends MIDI notes to trigger synth string samples)

Fender Telecaster Plus V1 guitar in Tobacco Burst finish

Electro-Harmonix Small Stone V2 phaser

DOD 440 envelope filter

BOSS LS2 line selector

Vox AC30TB Dave Petersen Special amplifier

Marshall Shredmaster distortion

BOSS FV300 volume pedal

Fender Eighty-Five amplifier

Ed O’Brien‘s gear for Paranoid Android in Dublin

Shure Beta 87 vocal microphone

Fender Telecaster Standard guitar in white finish

Crowther Hotcake and/or BOSS SD1 overdrive

Digitech Whammy WH4 pitch shifter

BOSS LS2 Line Selector

BOSS DD5 delay

Vox AC30TBX Dave Petersen Special amplifier

Mesa Boogie Trem-O-Verb amplifier

Colin Greenwood‘s gear for Paranoid Android in Dublin

1972 Fender Precision Bass in Olympic White finish

Alembic F-1X Tube Preamp

dbx 160A Compressor/Limiter

Gallien-Krueger 800rb amplifier head

Ampeg SVT 8x10 cabinet

Jonny at the Young Chang upright piano during Paranoid Android – a rare instance of Jonny not using the Rhodes piano for this section.

Motion Picture Soundtrack

Thom Yorke‘s gear for Motion Picture Soundtrack in Dublin

Shure Beta 87 vocal microphone

Vox Super Continental organ

Electro-Harmonix Micro Synthesizer (vintage "big box" version used to distort the organ’s sound)

BSS Audio AR-133 Active D.I. Box (used to connect the pedal to the PA mixer)

Jonny Greenwood‘s gear for Motion Picture Soundtrack in Dublin

Fatar CMS-61 MIDI controller (sends MIDI notes to trigger harp and choir samples)

Colin Greenwood‘s gear for Motion Picture Soundtrack in Dublin

Double bass

Thom playing the Vox Super Continental organ. The EHX Micro Synth and BSS Audio DI box can be seen on top of the organ, along with a power strip with power supplies.

Colin with his double bass and bow, presumably checking to ensure he has enough rosin and tension on the bow.

Everything In Its Right Place

Thom Yorke’s gear for Everything In Its Right Place in Dublin

Shure Beta 87 vocal microphone

Rhodes Suitcase Piano Mark I 73 electric piano

Jonny Greenwood’s gear for Everything In Its Right Place in Dublin

Korg Kaoss Pad KP1 sampler (fed from Thom’s vocals)

Electro-Harmonix Small Stone V2 phasor

DOD 440 envelope filter

Demeter The Tremulator tremolo

Digitech Whammy WH1 pitch shifter

BOSS SD1 overdrive

BOSS RV3 reverb/delay

Roland RE201 Space Echo

Vox Egg footswitch (echo cancel for Space Echo)

Ed O’Brien’s gear for Everything In Its Right Place

Pedals are fed from Thom’s Rhodes Piano.

Line 6 DL4 delay/looper (as looper)

Akai Headrush E1 delay/looper (as looper)

BOSS DD5 delay

BOSS FV300 volume pedal

misc others

Colin Greenwood‘s gear for Everything In Its Right Place in Dublin

1972 Fender Precision Bass in Olympic White finish

Alembic F-1X Tube Preamp

dbx 160A Compressor/Limiter

Gallien-Krueger 800rb amplifier head

Ampeg SVT 8x10 cabinet

A screenshot of Thom at the Rhodes piano during . One can also see the distinctive red control panel of Jonny’s Vox AC30TB Dave Petersen Special.

Ed adjusting his Line 6 DL4 and Akai Headrush E1 – both configured as loopers – during Everything In Its Right Place.

In this screenshot from Everything In Its Right Place, one can see Jonny’s 80s ondes Martenot and Fatar CMS-61 (left), as well as his BOSS SD1 and BOSS RV3 pedals (right).

Just

Thom Yorke‘s gear for Just in Dublin

Shure Beta 87 vocal microphone

Fender Telecaster Deluxe guitar (vintage 1970s)

Thom uses the guitar’s pickup selector as cutoff switch during outro section.

Proco Turbo Rat distortion (most likely, might be another dirt pedal)

Marshall Bluesbreaker amplifier

Jonny Greenwood‘s gear for Just in Dublin

Fender Telecaster Plus V1 guitar in Tobacco Burst finish

Electro-Harmonix Small Stone V2 phaser

DOD 440 envelope filter

Digitech Whammy WH1 pitch shifter

BOSS LS2 line selector

Vox AC30TB Dave Petersen Special amplifier

Marshall Shredmaster distortion

BOSS FV300 volume pedal

Fender Eighty-Five amplifier

Ed O’Brien‘s gear for Just in Dublin

Fender Stratocaster (70’s) in white finish with black pickguard

Crowther Hotcake and/or BOSS SD1

BOSS FV300 volume pedal

Mesa Boogie Trem-O-Verb amplifier

Colin Greenwood‘s gear for Just in Dublin

1972 Fender Precision Bass in Olympic White finish

Alembic F-1X Tube Preamp

dbx 160A Compressor/Limiter

Gallien-Krueger 800rb amplifier head

Ed can be seen with his white 70s Strat in this screenshot from Just.

Phil Selway’s Drum Setup

Phil’s drum kit is not especially visible in footage from the show. However, he described his setup at the time in the July, 2001 issue of Rhythm magazine:

“I don’t have my whole kit set up here today. I generally have 12”, 14” and 16” toms and a Noble & Cooley snare that I put on my left-hand side. I’d normally have drum triggers and a pad on the kit too, to the right of my 12” tom. The kick drum and both snares have triggers on – just for individual samples, because we don’t tend to use loops live.

“My acoustic drums are all premier Signia Marquis. They look after me really well and have done for six years – they sent me a Club kit recently, which I love. Cymbals are a mix of Zildjian Ks and As usually. I like quite dry cymbals – things that sound quite contained. It’s quite a simple set-up, really, and I don’t want for anything. Apart from snares. You can never have too many snares.”

The Zildjian K Cymbals are as follows:

13” Hi-Hats

12” Splash

15” Thin Crash

16” Crash

18” Ride

The triggers are by ddrum, and are used to control Phil’s Clavia Nord Drum 1.

Phil’s Nord Drum can be seen in this screenshot from Idioteque.

[ssfoc]

Killer Queen, by Queen

Killer Queen was the first single from Queen’s second album, Sheer Heart Attack. It was recorded at Trident Studios in England, and released on 21 October 1974. It was Queen’s first international hit, peaking at #2 in the UK Singles chart and #12 on the Billboard Hot 100 in the United States.

This write-up will refer to the studio version of the song (Listen).

Written by Freddie Mercury, Killer Queen surprised even his bandmates, who noted that it was “lighter” than their previous songs, in spite of using additional instruments. It’s also in an unusual key for rock music, B-flat major.

Some of the musical instruments included a Bechstein grand piano, a “jangle” upright piano (named because it was allowed to go out of tune for the recording)(hear it at 0:46), an acoustic guitar, electric guitar, drum kit, triangle and chimes, a Fender Precision bass with an amp customized by bassist John Deacon. There are lines in the music where two bass guitars play contrasting bass lines simultaneously. There are piano solos where the grand piano and upright piano play simultaneously, thereby creating a unique, slightly out-of-tune sound.

The studio recording used multi-tracks and overdubs to achieve precise, edited overlays of sound that are not possible with live performances, and yet the studio version often sounds cleaner, more fastidious, the top hats in the drums controlled precisely, the dynamics edited like Swiss clockwork. Freddie Mercury sings many of the choruses in harmony to himself, with overdubs. The vocals follow gospel-inspired parallel harmonies, just like Harry’s songs, Sign of the Times and From the Dining Table.

Th recording of Killer Queen, made in the era before autotune, shows the band’s accuracy in timing and pitch. It was recorded with a 24-track recorder, at the time an expensive and time-consuming way to record, and available only in big studios. It used unusual special effects such as panning (sound traveling from one speaker to another, 1:37) and flanging (the whooshing sound made with the guitar pedal, long before digital edits were available, at 2:03), guitar distortions done with amps and wah-wah pedals (2:05) done through a filter effect. There’s also a word painting effect on “laser beam,’ where the voice is distorted to reflect the meaning of the word.

You’ll have to listen to the song itself to hear how clean it sounds (e.g. hear how the hi hat snap off cleanly at 0:51, the drum crescendo, and triangle at 0:56 and 2:15, the jangle piano at snare drum at 0:54). Even when there are double basses under the guitar solo, you can hear both lines underneath, soft yet meticulous (1:50). The piano part was written to be skeletal; it needed the guitar chords to flesh out the harmony. Freddie left an entire section for Brian May to fill in with chords, harmonies, and guitar solo.

Freddie said of the song: 

People are used to hard rock, energy music from Queen, yet with this single you almost expect Noel Coward to sing it. It’s one of those bowler hat, black suspender belt numbers – not that Coward would wear that. (…) It’s about a high class call girl. I’m trying to say that classy people can be whores as well. That’s what the song is about, though I’d prefer people to put their interpretation upon it – to read into it what they like. It’s one of those bowler hat, black suspender belt numbers - not that Coward would wear that.

(An aside: it’s funny what Louis says about Little Black Dress. When asked whether he would wear black suspenders and belt, Mercury said, “Oh no dear, just a nice black number.“)

In fact, the body of the recording was made while guitarist Brian May was in the hospital. The band had been touring as a support act for the band Mott the Hoople when Brian contracted hepatitis. They had to leave the tour midway. Brian May said this about the song:

Killer Queen’ was the turning point. It was the song that best summed up our kind of music, and a big hit, and we desperately needed it as a mark of something successful happening for us… I was always very happy with this song. The whole record was made in a very craftsman-like manner. I still enjoy listening to it because there’s a lot to listen to, but it never gets cluttered. There’s always space for all the little ideas to come through. And of course, I like the solo, with that three-part section, where each part has its own voice. What can I say? It’s vintage Queen. The first time I heard Freddie playing that song, I was lying in my room in Rockfield [a residential recording studio in Wales], feeling very sick. After Queen’s first American tour, I had hepatitis, and then I had very bad stomach problems and I had to be operated on. So I remember just lying there, hearing Freddie play this really great song and feeling sad, because I thought, ‘I can’t even get out of bed to participate in this. Maybe the group will have to go on without me.’ No one could figure out what was wrong with me. But then I did go into the hospital and I got fixed up, thank God. And when I came out again, we were able to finish off 'Killer Queen.’ They left some space for me and I did the solo.

During this NME interview, Freddie bantered openly about sexual ambiguity. He never stated a sexual identity, but also did not steer away from suggestions of not being straight.

For one thing, Freddie loved innuendos. He’s talking about always living up to the image of a rock star:

"I hate pockets in trousers,” he stresses. “By the way, I do not wear a hose. My hose is my own. No coke bottle, nothing stuffed down there.”

Here’s Freddie joking about touring Japan:

“We’re planning to go to Japan in the New year,“ states Mercury. "Can’t wait, actually. All those geisha girls…” (he laughs) “and boys.”

Killer Queen was itself a musical puzzle and a joke. Unlike most of his other songs, Freddie wrote the lyrics to KQ first, and then fitted the music around it. The lyrics have a breezy, bratty brashness, not dissimilar to Freddie’s interview style. The epitome of advanced Western high culture (Moët et Chandon, Marie Antoinette, laser beam) is pitted against the cynicism about society’s worship of material success. 

When asked about the meaning of the song, Freddie said,

“It’s about a high class call girl. I’m trying to say that classy people can be whores as well. That’s what the song is about, though I’d prefer people to put their interpretation upon it - to read into it what they like.”

In fact, the name of the song has several implied puns. The name of the song, Killer Queen, may refer to a call girl, as Freddie said, but “queen” is also slang for a gay man, which in turn is itself the cheeky name of his band. The double entendre may therefore refer to Freddie in his dual roles as a fantastically gifted musician and a fantastically flamboyant, queer man.

Freddie’s music is immersed in this duality from the beginning as well, from the design of the band logo to the name he selected to perform under. 

This duality was manifest in Freddie’s personality. He famously disliked interviews and was a shy introvert, yet loved performing and reveled in flamboyance on stage. This split is also evident in the song itself, which I’ll explain in detail.

Killer Queen is a triumph of self-referential camp. It’s presented as a rock song from a rock band. But as Freddie said, the style of the music is based on musical theater and satire, Noel Coward and the tradition of British music hall tunes. It’s parlor music interpreted as rock 'n roll.

It’s funny to think that the song was recorded 44 years ago. Killer Queen is separated from us by the same amount of time as it is from 1930, yet to us, it still sounds completely fresh. Its snark, sass, and vernacular, minus a few references to Kruschev and Kennedy, are still our pop idioms. The song opened a door for rock music to be campy, to be queer in a humorous way, to joke about hoses in pants and dating boys and girls (and in later Queen songs, such as I Want to Break Free, the camp would be more overt). British comedy has always had a special fondness for cross-dressing (see: Monty Python Benny Hill, One Direction), 

but Freddie Mercury overlaid the gender-bending with a bitter knowledge that in polite society, none of this could be taken seriously, that queerness still had to be subsumed as humor and ambiguity.

In the NME interview, Freddie acknowledged his anxiety of homophobia:

PART OF this interview was conducted in a local hostelry which sold liquor. Beforehand, Mercury seemed a bit nervous, about what kind of establishment it was.

“Is it working class ?” he asked, in what sounded like an elitist manner. No, it wasn’t particularly rough. Even so, people did tend to stare when he entered.

“I love it, really.” He commented, looking distinctly uncomfortable trying to avoid the stares of an old man nearby, whose eyes were attempting to leave their sockets.

“I just wanted to know what kind of place it was because I don’t want a load of cut-throats around me. I just wonder what they think. I mean when we walked in that man’s eyes did nearly pop out his head.”

In Killer Queen, Freddie the lyricist cleverly paints a picture of two realities: the superficial façade of theater, make-up, and pretense, and the darker reality of personal persecution and closeting, through a satirical, coded language. Camp is high when Marie Antoinette gets a mention, her condescending misquote creating an ominous, almost sadistic mood. Marie Antoinette lived an extravagant life until she was guillotined for flaunting it:

She keeps Moët et Chandon In her pretty cabinet 'Let them eat cake’ she says Just like Marie Antoinette

Caviar and cigarettes Well-versed in etiquette Extraordinarily nice

This life isn’t merely nice, it’s flamboyantly nice, extraordinarily nice. 

Like the lyrics, the music is crafted to be slightly off-kilter. The time marking of the verse sounds like 4/4, but is in fact written in triplets, as 12/8, with measures of 5/4 and ¾ interspersed at the end of the verse.

This reminds me a lot of Louis’ music, actually– especially in No Control, with the opening rhythm so syncopated yet so tightly knit, and the beginning of Just Like You, Back to You, Miss You, all so clever and rhythmically engaging. I really can’t get over what a gifted songwriter Louis is. 

One hint that the music isn’t going to be exactly normal comes at the very beginning, when the verse starts after five finger snaps: one and a half measures into the song. Already we start on a weak off-beat of an off-measure (the second measure). Already the listener is taken aback.

The verse is in the usual 8+8 rhythm, until it isn’t anymore. Here, it speeds up into 2+2 (cleverly simulating, in both rhythm and harmonic progression, the acceleration of rhythm in sexual intercourse):

A built’-in

re'medy

For Kru'schev

and Ken'nedy

At any'time

an in'vitation

You can’t decline

This rhythmic variety shows up with the early entrance of this line (1:10), one beat early:

Perfume came naturally from Paris For cars she couldn’t care less

And then Freddie tells us what we’ve been hearing all along, what they’ve been doing with the music (1:13-4):

Fastidious and precise

Hear how archly he sings that line. Cheeky bastard! He knows! I laughed out loud at this line.

The lyrics go by at a clipping pace, too fast to allow for listeners to truly digest the content. But if you did, you would hear some jarring incongruences and hints like this:

Gunpowder, gelatine Dynamite with a laser beam Guaranteed to blow your mind

There’s a really clever trick in the last line. Up until then, the harmonic progression is going every two beats (gun-powder, gel-atine), but the last shows the bass line climbing with every beat (G7, F7/A, G7/B, C) to end on the tonic (B-flat): Anytime. A speeding up, like a sexual climax.

The confluence of domestic (gelatin) and military (dynamite, laser beam) metaphors may have been used specifically to invoke phallic symbolism (what sort of call girl uses a laser beam? maybe one with a pointer? the kind who “blows” your mind?). And then there are these strange lyrics:

To avoid complications She never kept the same address In conversation She spoke just like a baroness Met a man from China Went down to Geisha Minah Then again incidentally If you’re that way inclined

The imagery is again on pretense, superficiality, mimicry, and deception. A geisha is known to wear heavy facial make-up and disguise themselves to play a specific role, and as Freddie himself confirmed, it was difficult to distinguish whether a geisha was male or female. The call girl in Killer Queen is one who needs to change addresses frequently to avoid detection, “goes down” to geisha minah, and incidentally is “that way inclined.” This phrase may describe male orgasm:

Then momentarily out of action Temporarily out of gas

Freddie isn’t hiding his sexuality, not really, as much as throwing it in the face of priggish listeners. These lines:

Recommended at the price Insatiable an appetite Wanna try? You wanna try?

which, incidentally, remind me of this: 

which reminds me of this quote from John Marshall, of Gay Times (1992), how Freddie’s unwillingness to define his sexuality parallels Harry’s: 

[Mercury] was a ‘scene-queen,’ not afraid to publicly express his gayness, but unwilling to analyse or justify his 'lifestyle’ … It was as if Freddie Mercury was saying to the world, 'I am what I am. So what?’ And that in itself for some was a statement.

The video for the live performance also shows a Freddie who reminds me of Harry on his 2017 tour: fur coat, black nail polish, long, flowing locks.

Finally, as great as the individual instrumental performances were, Freddie Mercury's voice was undeniably the charismatic center of the song. Freddie had a nearly 5-octave singing range (not quite Mariah Carey but close!) and his voice charmed, coaxed, joked, and cajoled its way through the song, playing with rhythm and always entertaining, not merely singing. The voice was itself a disguise for a shy person who loved extravagance and performance, always imitated but seldom paralleled.

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Ample Sound Agh Torrent Mac

Ample Bass P Lite II aim to bring the Fender Precision Bass sound to your studio.

Ample Sound Agh Torrent Mac 2016

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Ample Sound – Ample Guitar Semi Hollow III v3.2.0 STANDALONE, VSTi, VSTi3, AAX, AUi WIN.OSX x64. System requirements:. Windows: Windows 7/8/10, 64 -bit only (32-bit not supported). Mac: 10.9 or higher. Processor with 2 GB RAM. Description: The Ample Guitar Semi Hollow is modeled on the Gibson ES 335 guitar pickup with a fingerstyle semi-empty body and sounds warm and soft.

Mac OS X 10.7 or higher (we also provide Ample Bass I for Mac 10.6 users), Intel-based Mac with 2 GB RAM. AU, VST, AAX or RTAS host application and professional sound card recommended. Stand-alone version included.

Sampling:

Download Torrent Ample Guitar M Torrents or Emule Download or crack serial keygen cd key download or anything related in the. Ample Sound Ample Bass J V1.1.0 Incl. Ample Guitar M II Complete Installer Mac OSX 19 Feb 2015 4.61 GB Ample Guitar M II aim to bring the Martin D-41 Acoustic Guitar sound to your studio.

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443 Samples, Size: 450 mb, 16bit 44.1khz

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Technology:

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New technology: Auto Buzz system

Capo Logic – Intelligent play according to bass rules.

CPC(Customized Parameters Control), any button knob etc can be controlled by MIDI CC or Automation

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Manual vibrato wheel designed specifically for string instruments

Capo – Transpose without need to modify midi.

Tab Player:

The Tab Player can load and play several prevalent guitarbass tablature file formats. Users can load, display and playback any specific track inside a tablature file. When used in DAWs, the Tab Player also allows users to export the tablature as an audio file.

The Tab Player supports all the fingering, looping, chords, articulations and other markers in the loaded tablature. Supported articulations include: Strum, Natural Harmonic, Artificial Harmonic, Hammer On/Pull Off, Trill, Bend, Tremolo Bar, Legato Slide, Slide In, Slide Out, Vibrato, Tremolo Picking, Palm Mute, Slapping, Popping, Tapping, Let Ring, Staccato, Dead Note, Grace Note, Ghost Note, Accentuated Note, Fade In, etc.

As a built-in function, the Tab Player works seamlessly with the Ample Sound instrument engine, which has extremely customized guitar playing logic so as to model a real world guitar being played. The Tab Player can even judge on its own to automatically add some refining articulations when it thinks it is appropriate, such as slapping on strings or body, or other realistic and indispensable noises.

System Requirements:

3 GB of free hard disk space.

Windows Vista or newer, Pentium 4 or Athlon processor with 2 GB RAM.

Mac OS X 10.7 or higher (we also provide Ample Bass I for Mac 10.6 users), Intel-based Mac with 2 GB RAM.

AU, VST, AAX or RTAS host application and professional sound card recommended. Stand-alone version included.

The goal of Ample Metal Hellrazer is to bring the sound of a nine-string Schecter Hellraiser guitar into your studio with settings #C, #F, B, E, A, D, G, B, E. Condition zero pc game cheat codes. It is suitable for heavy metal styles such as Metalcore , progressive metal and djent.

• CPC (Customized Parameters Control), any knob can be controlled by MIDI CC or automation. • Polyphonic legato and smooth sliding. • Pick Attack Accentuation, which can be adjusted to simulate the noise of a pick hit, bringing more variation and realism. • Additional settings. Ample Bass offers additional tuning down to the lowest note of A0. • Multiple Capo Logics – Provides various automatic fingering algorithm options for different performances such as solo, chorus, etc. • Stereo DI signal. • Automatic and manual string buzzing system. • Built-in AMP system, including three classic AMP models: Vintage-15, Bass-500, Bass-Pro. • 1×15, 2×10, 4×10, 8×10 cabinets • Each cabinet has 4 microphone options: U87, C414, MD421, and SM57. • String Roll Editor: can clearly display fingering, articulation, expression and even game noise. Each note has 8 attributes – pitch, velocity, length, speed, articulation, legato, vibrato and bend. • Dice – Random riff generator: create new inspiration with one click, because it’s not just a random algorithm. Rather, he summarizes the rules by analyzing a variety of musical scores. • Multiple selections and operations, undo and redo, and more. Multiple MIDI instruments, including fixed velocity, legato length and limiting, select, move, draw, erase, split, glue, and more. • High-end 8-band equalizer, intuitive frequency response control, real-time visualization of the input and output spectrum, support for solo band. • 2-Line Compressor – visualization of the input and output signal in real time, two detection modes RMS and Peak, support for soft knee, auto release and auto make-up. • 6-Tap Echo – visualization of stereo signal processing in real time, can individually adjust parameters of 6 echo parameters: feedback, panning, volume, etc. • IR Reverb – provides four types of IR: Room, Studio, Hall and Larger Hall. 3D visualization of the IR spectrum. • Tab Player can load and play several common tablature file formats for guitar and bass. Users can download, display and play any specific track within the tablature file. When used in a DAW, the Tab Player also allows users to export the tablature as an audio file. Didde apollo operation and parts manual diagram.

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Top 10 Best Headphone Brands in The World

Excellent listening pleasure is a factor that can make any medium many times more beautiful. It doesn’t matter whether you beautify yourself with a radio play, music, a film, while gaming or wear headphones for work: hardly anything is more important than the quality of the sound. Whether playing video games in your own home, enjoying your favorite music on public transport, video chatting with loved ones or enjoying a relaxing podcast in the great outdoors: the mood always stands and falls with the listening pleasure.

The fact that many customers are therefore always looking for higher quality in order to perfect the auditory experience has of course not passed the market. And so audiophile connoisseurs are now offered an immensely wide range of headphones in all shapes, colors and versions. The electronics stores offer a huge spectrum in all conceivable price, quality and ratio classes both online and offline. From pimped up plastic scrap to underestimated products at low prices to the noble variants decorated with gold leaf, the same applies to this market: there is nothing that does not exist. And of course it is sometimes not that easy to keep track of things,

The following list should provide a little help when choosing headphones. The ten best headphone brands are presented in a loose list, with which the hearing can guarantee an excellent listening experience. Each brand receives a small profile with regard to its special features and its career. Of course, product recommendations should not be missing.

What is The Best Headphone Brands

Angry

Founded in 1964, the company has always been based in the US state of Massachusetts. Electronic products for audio, video, vehicle technology and even the military are diligently produced there and in various branches. From home cinemas and large sound systems to space shuttles, almost everything has already been provided with the excellent acoustics from Bose. The company takes its mandate to optimize the listening experience seriously in every respect. In addition to speakers and headphones, there are also excellent hearing aids and Sleep Buds from the Bose brand.

The headphones of the company from the American east coast occupy the top places in every discipline. As a result, you can’t go wrong with in-ear or over-ear products when investing in a Bose product. Athletes, musicians and even pilots swear by the flawless quality and ease of use of Bose headphones. One of the hottest products is the Bose Quiet Comfort 35 II. In the office, on the other hand, the Bose 700 Wireless Headphones are worth a warm recommendation.

Sony

When the Sony company was founded in Tokyo in 1946, the idea of ​​taking over the production of rice cookers from the predecessor company had just been abandoned. Instead, the focus should now be on entertainment electronics. Today there are probably only a few households left without a Sony product lying around. Apart from Playstation, cameras and mobile phones, an important step to success lies in the production of audio devices. The world’s first transistor radio Sony TR 55 is just one of the many milestones in this history. The Sony Walkman has also had a lasting impact on the culture of music consumption; just like the invention of the CD.

When it comes to headphones, Sony has a range that is second to none worldwide. The Japanese company has an offer for every asking price, quality margin and every conceivable specification; and of course in several versions. With or without a cable, Lite or Pro, Jog Proof or waterproof are just a few of the questions that can be answered before buying Sony headphones.

In addition, no other company in the global market does as well as Sony at eliminating noise from headphones. Undisturbed listening pleasure is written in capital letters here. With the help of the Headphones Connect app and a fabulous bass sound, models such as the versatile Sony WF 1000XM3 or the inexpensive Sony WI C310 Wireless are among the market leaders for good reasons.

Tip: Top 10 Best Sony Headphones Reviews in 2020

Sennheiser

Even if the town of Wedemark-Wennebostel is probably only known to very few people, the Lower Saxony municipality is an important authority when it comes to headphones. Here Fritz Sennheiser founded his company shortly after the Second World War, which was dedicated to the research and production of microphones and headphones. The laboratory founded by Fritz Sennheiser has been working on the high-precision and optimal improvement of the sound experience since day one.

This strict accuracy was not without appreciation. Fritz Sennheiser received an Oscar at the Academy Awards in 1987 for his MKH 816 directional microphone, which was not only very popular in Hollywood. The Sennheiser company has also made a name for itself time and again with headphones. This includes the Sennheiser Orpheus product, which was released in 1990. These are the most expensive headphones of all time, which went into production in limited numbers.

Today the black S in the white rectangle is still known and loved all over the world. In recent years in particular, Sennheiser has undergone a very strong shift towards digitality. The latest generation of their headphones are mostly wireless Bluetooth models that can be ideally adapted to the needs of customers. The Sennheiser Smart Control App, which has a completely parametric equalizer, takes care of the latter. The Sennheiser Momentum Wireless headphones with their excellent sound quality are considered to be the company’s flagship. The Sennheiser HD 4.50 model is recommended for uncomplicated, comfortable and strip-free television enjoyment.

Audio-Technica

What began with turntables in Machida in the Japanese prefecture of Tokyo in 1962 is now one of the big names when it comes to audio quality. Fifteen years after the company was founded, Audio-Technica launched the AT 700 series and made a name for itself on the headphone market that will last. Nowadays the Machida company is an indispensable part of any sound amplification and reproduction field. The turntables, loudspeakers, microphones and headphones from Audio-Technica are popular and are sold and bought by various branches all over the world.

Whether for professional recordings in the studio, for telephone calls or video conferences, and of course for private enjoyment of music: the Audio-Technica brand has the right product in stock for all areas. A special feature of the headphones from Japan is their excellent ability to filter out noise and interfering noises. And to the delight of their customers, Audio-Technica products can also be purchased at affordable prices.

As all-round headphones with a stylish look, the wireless Blue Tooth model Audio-Technica ATH M50xBT is an absolute bestseller. Anyone who works in the production of music or spends a lot of time in the studio and is looking for high-quality headphones with a good price-performance ratio will also find what they are looking for: the Audio-Technica ATH M50x model is just right for this.

Beyerdynamic

When the beyerdynamic company was founded in Berlin in 1924, nobody could have guessed that history would soon be made. Just 13 years later, Beyer produced the world’s first dynamic headphones, the DT 48 telephone, and the M 19 dynamic microphone produced two years later quickly became an ubiquitous standard product.

The company, now based in Heilbronn, still manufactures a large part of its products under its own roof. In addition, the German audio experts have blossomed into a global player and have a subsidiary in the United States of America as well as branches in Singapore and India.

Characteristic for beyerdynamic are the robust metal frames and the extremely comfortable velor cushions. The headphones are popular with musicians because of their crystal-clear sound, which can ideally present high tones and percussive elements. In addition, additional reinforcement in the bass is one of the features of the German brand. The most prominent models of beyerdynamic headphones are primarily the beyerdynamic 1990 PRO and the beyerdynamic 1770 PRO.

JBL

Behind the three letters stands one of the most famous global players in audio. The eponymous founder James Bullough Lansing laid the foundation for a global success story in Northridge, California, back in 1946. The many highlights of the glorious history of the JBL brand include the statement made by the guitar manufacturer Leo Fender, who named JBL as the ideal loudspeaker for his instruments.

With boxes for home use as well as for large crowds and, last but not least, monitor speakers for use in the music business, JBL has always moved between the upper middle class and the upper class. And the more modern markets such as headphones, wireless amplifiers and small boxes for everyday use were not missed either. Today, wearable devices from the Californian company can be seen and heard on every corner. Then as now, the focus is on the music on the one hand and on all-rounders at the time. JBL is the casual product that everyone knows and that is appreciated everywhere. Headphone models like the JBL Live 650 BTNC Wireless are not only one of the most popular products in the field of electronic music. You can’t go wrong with JBL when it comes to in-ear headphones.

Beats by Dr. Dre

Hardly anyone has shaped the American Hip Hop, G-Funk and R&B scene more than the Californian producer and rapper André Young – better known under the pseudonym Dr. Dre. His extensive knowledge of creating great sound experiences made Young another pillar of business in 2006 when he founded Beats Electronics. Since then, the little white b in the red circle has not only become a recurring gimmick in music videos by artists like Nicki Minaj, Eminem or David Guetta.

According to his musical background, Dr. Dre places particular emphasis on warm and bass-heavy tones when aligning its products. With its over-ear and in-ear headphones as well as wireless speakers, the company of the former NWA member has made a name for itself among music fans from all over the world. The customers of Apple products in particular like to use the Dres Company emblem on the headphones due to the problem-free compatibility. The Beats Solo Pro Wireless, which is characterized by its extraordinary isolation from background noise, is particularly popular. The Beats EP is one of the most popular goods among DJs and other people in the music business.

Jaybird

Anyone who likes to be driven by music in sports should not forego optimal quality. The Australian athlete Judd Armstrong said the same. Out of sheer disappointment at the lack of headphones that combine excellent listening pleasure with sporty wearability, Armstrong founded the Jaybird company in 2006.

Jaybird is now part of the Logitech Group and is manufactured in Salt Lake City, Utah. The basic principles of the sporting product are freedom from cables and optimal use of Bluetooth technology. So of course it is only natural that the company’s first product was called Freedom. From now on it went steeply uphill for Judd Armstrong and his headphones, with which he spoiled sports enthusiasts all over the world with ideal listening pleasure. The smart bracelet Reign appeared as a further product in 2014, with which one can find out about all important health data while exercising.

Together with the Jaybird MySound app and the integrated parametric equalizer, Jaybird products turn every workout into an acoustic experience in which neither cables nor bad sound get the chance to disturb. Athletes especially swear by the Jaybird Vista Truly Wireless. The Jaybird Tarah Pro is a popular all-rounder.

Jabra

The company Jabra was born from the house of the GN Group and its more than 100-year-old tradition. Its headphones make the hearts of many office workers jump for joy. Jabra’s focus is primarily on business, office and other work-related areas. Jabra is also the only company in the world that combines the production of hearing aids, headsets and headphones under one name and one location. The Jabra logo is present everywhere, from call centers to important conferences, cell phones, video chat and technical support for human hearing.

The initially dotted and then solid line in the Jabra logo guarantees the best quality for conversations and recordings. The high definition headphones from Jabra have their place in the professional sector and are indispensable in every branch of the modern professional world. From the assistant in customer service to the management of international conferences via remote interviews, the brand from the GN Group can be found everywhere.

Wired or wireless, over-ear or in-ear: Jabra is highly professional. The latter naturally also applies to the microphones on the headsets. The Jabra Evolve 65t Truly Wireless is currently one of the best business headphones. Joggers, on the other hand, prefer to use the Jabra Elite Active 75t.

Skullcandy

When Rick Alden founded the company Skullcandy in the US state of Utah in 2003, he had two goals in mind: unusual quality for deep bass and a relaxed, casual image. The casual look of the Skullcandy headphones fits like a glove with the outfit on the skate area, on the beach with bathing suits and surfboard, and of course with the casual street look. The products from Skullcandy enjoy great popularity in these areas and the skull on the side has become a symbol of quality in urban scenes.

Whether simple, brightly colored or in unusual styles, the Skullcandy headphones are always well received. Their interpretation, trimmed for bass, also goes very well with musical styles such as hip-hop or EDM. Even those who love funk or dubstep will be delighted by the listening experience. In addition, the Skullcandy brand is enjoying an ever-increasing clientele in the field of popular music, because here too a strong sound image with an urge for depth has not only recently been appreciated.

The brand from Utah convinces with or without a cable; also because of the fair relationship between price and performance. The most popular models include the Venue AC Wireless and the HESH 3 Wireless Over Ear.

The company Jabra was born from the house of the GN Group and its more than 100-year-old tradition. Its headphones make the hearts of many office workers jump for joy. Jabra’s focus is primarily on business, office and other work-related areas. Jabra is also the only company in the world that combines the production of hearing aids, headsets and headphones under one name and one location. The Jabra logo is present everywhere, from call centers to important conferences, cell phones, video chat and technical support for human hearing.

The initially dotted and then solid line in the Jabra logo guarantees the best quality for conversations and recordings. The high definition headphones from Jabra have their place in the professional sector and are indispensable in every branch of the modern professional world. From the assistant in customer service to the management of international conferences via remote interviews, the brand from the GN Group can be found everywhere.

Wired or wireless, over-ear or in-ear: Jabra is highly professional. The latter naturally also applies to the microphones on the headsets. The Jabra Evolve 65t Truly Wireless is currently one of the best business headphones. Joggers, on the other hand, prefer to use the Jabra Elite Active 75t.

Other headphone brands with good reputations include:

Brand:

11. SteelSeries 12. Logitech 13. Plantronics 14. Bang & Olufson 15. HyperX 16. anchor 17. Bowers & Wilkins 18. Shure 19. AKG 20. Mpow

The brands and products listed provide a good overview of the current dimensions of the renowned and rightly popular headphones. The list also shows that the perfect product can be found even for the most specific individual needs. In addition to all-rounders and models for beginners, it is precisely the special models and companies that stand out. And that not only the big players who have been known for a long time find their place here, but also shows how dynamic and adapted the market is. While some still young companies are geared towards the explicit needs of athletes, for use in everyday professional life or for special styles of music, the all-rounders can often be found among the big names. The choice of the ideal headphones for your own needs has definitely changed. Companies, research institutions and the customers themselves play a big part in ensuring that there is the ideal product for every area. And those that don’t exist today could be invented tomorrow.

source https://homearama.tv/best-headphone-brands/