versechorusjvh

my 2 cents - i think nels is what jeff was looking for in the first place - he ended up with jay somehow and that resulted in some great stuff in the summerteeth / yhf era due to jay's multi-instrumentalist / (self-imposed?) producer role, but in the end, the songs were the songs and would have been the same songs regardless of how much mellotron went over top of them. its interesting to speculate what summerteeth and yhf would have sounded like without jay - and i think jay is great - but ultimately, i think it is for the better that jay is not a part of wilco, but i look forward to what he can do in the future on his own, without the strength of jeff's songs to tinker with. i still occasionally spin 'the palace at 4am' but 'the magnificent defeat' just doesn't click with me for some reason.

as for nels, i think we have barely scratched the surface as far as his potential as a wilco member. his sbs collaborations blow me away, but having heard some of his non-wilco material, i think there are great untapped possibilities in the experimental/noise realm. i couldn't be more excited for the future of wilco.

oh, there it is. i kept trying to find it in the 'multimedia' section. silly me

am i just inept, or is there no way to download the jeff tweedy spot on that show?

if anybody wants to trade for a waffles.fm or what.cd invite, i have invites to:

-stmusic.org

-supertorrents.org

-hulu (new tv-in-your-browser site) beta

i'm not sure. there's a tiny little blurb in the wilco book about it. i might as well look it up real quick:

(there's a pic of the 3 ernie ball pedals that say 'mix, time, and feedback' on them respectively)

Matt Zivich (Wilco stage tech): "These three things control time. Mix will give you a mixture of dryness to delayed sound. Time of delay can be varied, from short to long. Feedback is the length of time delay after the fact, until complete decay. This is one of my resistive network designs-they don't make sounds, like most people think; they actually just extend control over other areas.

Jeff Tweedy: "Used to be labeled Angst, Regret, and Forgiveness. Who changed my settings?"

i've personally found the EV-5 to not have as wide of a 'sweep' as the Ernie Balls, but i haven't used them on such pristine gear - only a line 6 dl-4 and an electro harmonix holy stain, and also as 'swell' control for the organ sounds on a nord electro 2.

this is an interesting issue for me, actually - it seems like it varies from manufacturer as to how they want you to get the signal to/from the expression pedal. some require TRS, (which on my ernie ball for my nord i use a cable that splits the TRS out on the keyboard to two TS cables that go to the 'in' and 'out' on the ernie ball) and some use TS, i think? i'm really not sure.

you know what's fun? getting some sound going through your delay pedal and then twisting the 'time' and 'feedback' knobs.

-versechorusjvh

yeah... the stage is just that -- meant for stage use... which is why it has so many features packed into one unit.

really, any gear question can be answered by another question - what do you want to do with it? i have an electro 61 and i love it... it's tiny, portable, versatile, and incredibly capable...

nord's philosophy is much in line with what jorgensen (sp?) says in the wilco book - would you rather have something that is built like a swiss army knife - kind of good at a lot of things - or built for one specific purpose, and really good at that. everybody that i talked to that relies on a nord says the same thing - it is amazing at the few things that it does.

i for one am very happy with the acoustic piano samples, especially since you have such a choice if you use the different samples from the website to update your unit via usb. and i originally set out to find the best 'digital' organ, and ended up with a great stage piano / electric piano / clav to boot.

if i wanted more synth sounds i'd probably upgrade to a stage, but i can't afford it! considering how little i ever do in terms of synthesizers, i'd probably be ok with one of those radio shack manufactured moog concertmates on top of my nord electro. ultra-portable rig and capable of some extraordinary things.

mikael does use a stage; he has been seen using an electro 61 backstage for 'acoustic' warmups before shows with the band. i'm pretty sure i see a red something or other on pat's side, too - i think to my knowledge its a triton for piano sounds, korg something or other for organ, and nord lead or something for synth? someone else here could probably verify that better...

but yeah, for my money, i wouldn't have it any other way. the great thing about nord/clavia is they understand that people don't want to deal with a bunch of digital menus/interfaces when it comes to making music - so i like the fact that everything is pretty much laid out right in front of you, and every parameter is easily available to tweak with your FINGERS

i'm rambling now, but you get my drift. nord! woohoo

jvh

i am so jealous of you...

well, you could always drop more cash on 3 ernie ball volume pedals and use them to control mix, time, and feedback like tweedy does

that'd be awesome

yeah, i found it on half.com a while back and it is of no help whatsoever. you're better off just learning the tunes by ear - it'll be better for you in the long run as a musician anyways.

it was really obviously transcribed by a piano player who has no interest in wilco whatsoever, and all you get are chord shapes, no tab. i thought it would be helpful to learn some of jay / mikael / pat's tasty keys parts, but it is really a crappy book. my 0.02 USD.

i don't see why it wouldn't sound authentic... the inside looks exactly the same from what i can tell

i actually went the same way - from tube screamer and blues drive to full-drive II...

i kept my blues driver, however, its the keeley mod and i just can't bring myself to part with it...

but yeah, what a great pedal, so many great sounds, and so versatile, with the different modes and stuff. my only beef would be the drastic level changes when switching from the 'vintage' and 'FM' modes to the 'comp-cut' mode... unless i'm not understanding something correctly. the sustain in the vintage mode is to die for though.