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One of the advantages of having retired (willingly or not) from performing live is extra time to organize the archives of demos, live recordings and outtakes that have piled up over the years. Some of the demos actually have found their way out into the world as completed songs, others will probably remain unheard until I at least get a better grip on sample clearance. When I was just learning how to record/write/arrange it was long before DAWs and even affordable samplers. So my drum choices came down to using a primitive drum machine (“paging Dr. Rhythm”?) or making drum “loops” by playing recordings through my digital delay stomp-box and trying to hit the HOLD function at just the right time. As a result I have some rather amateur sounding songs with some of the best (unwitting) drummers in the world. Most of these tracks are of no significance or value except to me and the glimpse it gives to moments in my musical development. Still, I might share a couple pieces down the road.

So, what is going on here? It’s actually pretty straightforward and super-flexable. First, the pedalboard:

The pedalboard can be used as a standalone rig for more basic needs. For more complex needs we add the rack (controlled by Behringer FCB1010 foot controller sending PC, CC and note messages):

Amps are either a Trace Elliott combo (for smaller gigs) or a SWR amp and 8X10 cab (for larger/louder).

Meet “the Grateful Dead of the Northeast Basement IDM Scene”.

The entirety of the “Regional Science Fair at the Mill, 05/04/01” bootleg is the current offering on the RSF SoundCloud page. This is one of the best examples of the band at the height of it’s initial run; the sound of the band in it’s happy place. Also features special guest appearance by Darren Case on sax.

Turn your thermostat up to 105 degrees, grab a cup o’ Purple Jesus and look nervously at Pub Safe and it’s the next best thing to having been there.

One would think that suddenly having most social options and locations off the table would free up a lot of time for creativity. Many of my friends seem to be kicking productivity into overdrive. Me? Not so much. This is also with a reduced work load/week. I seem to be paralyzed by the expanse of options. So I am trying to move obstacles out of the way, organizing, cataloging, and prepping. Making space for when I can focus again. Sounds logical and simple; feels anything but. More soon, I hope.

…is done and ready.

It was 10 years ago today. The completion of Guitar Craft, the birth of the Guitar Circle(s) and the eve of one of the most personally significant and effecting concerts I have ever played, the repercussions of which I am still feeling today.

Things are shutting down left and right. Schools, non-essential businesses and pretty much any public event or gathering space are now closed, thanks to COVID-19. That means (what few) gigs I had are now cancelled and I am officially a studio rat. Here

Tried something new this year: only used the phone for communication and navigation and didn’t worry about the selfies and gearporn shots. So…

Day One: I sat thru some AES/NAMM panels, had a nice chat with Adrian Belew, saw Mike Watt, lotsa purty geetars and wave one of the hairband has-beens. Test drove a couple reverb pedals, which was unusual for me. I usually don’t play anything out of self consciousness and keen awareness of my musical limitations. Booths seem to be overrun with shredders on break from Musicians Institute

Day Two: More AES. Saw a presentation/interview with Finneas O’Connell. Had my annual catch-up meeting with Brad Hogg, and then…

Wandering the floor, late in the afternoon, surrounded by noise, I hear from somewhere behind me,

“Christensen!”

I turn and see a familiar face that my brain is failing to attach a name to. Then, as I look at the name badge my brain grapples with the idea that standing before me is Jason “Fish” Harper, friend and former drummer, who I haven’t seen in 30 years. Thousands of people milling about and he was able to spot me.

Day Three: Panels, and because it’s Saturday; people, so many people! Highlights? Had a lovely chat with Steve Lawson who is demoing for a handful of gear companies. Remarkable bassist and supremely nice person. While every other bass player is slapping away at inhuman(e) speeds, Steve is tasteful and melodic while still being sonically adventurous.

The other highlight was the X-Jam concert. I had the best seat (3rd row center) for a lineup that included the Travis Larson Band and Andy Timmons Band followed by Mike Keneally, Ray White, Scott Thunes, Bobby Martin and Joe Travers. All except Joe are alumns of the Zappa band (most from the ’88 band) and Joe is in charge of the Zappa archives. Never thought I’d see these guys play together again. The mix was sub-par but the performances stellar. Met Scott post-show and told him he did a great job. I was also reminded how much of a master Keneally is.

Day Whatever: SO. MANY. BASS. PLAYERS. Sheehan, Watt, Bootsy, Sarzo, Wimbish, Chaney, Hellborg, Hamm, Bromberg (haven’t seen him since just before leaving L.A.), and I know there are plenty I saw but can’t remember.

So, gear takeaways? The guys at Tech 21 seem to be intent on me picking up the bass again. First it was the Dug Pinnick pedal, then the Geddy Lee pedal, THIS year… a new Geddy Lee pre-amp/DI and a Steve Harris pedal. Takeaway # 2: There are too damn many tasty reverb pedals. Takeaway #3: MOD Devices showed me how I can replace my entire pedalboard with one small box (and a midi controller). Just have to decide which would hurt more, my wallet or my lower back. Weird side note: people take the idea of Fred Armison as a drummer for real. Saw him presenting something on a panel at a booth.

Now, the grueling journey home.

Note: my spellcheck just suggested, in place of “grueling”, “gruel lingerie”. I hope that’s not a real thing.