I'm obsessed with fuzz pedals.
Speaking of stage freight. I was terrified! It was in NOLA at an all ages show. I was wearing Jeans, a Van Halen t-shirt, and a bandana on my neck. Once I gripped that microphone stand, I did not let go! I plugged my microphone into a guitar FX pedal. Then at the end of the a Black Sabbath song we were covering, I hit the guitar pedal. It was horrific!
Activism has to remain active. That's the trademark slogan and that's the mantra, because if your foot doesn't stay on the pedal, the car will stop.
By now, a million pedal strokes have etched the muscles in my legs with a single purpose: to power the crank and move the bicycle forward. Food flows into my body, bringing it power and strength. It is no longer a question of struggle. Now the journey evolves into the spiritual realm-where the pedaling becomes instinctive. It's a free-flow of energy that comes through my body and willingly expresses itself in the flight of the pedals.
I'm all for stage diving, but just don't step on my pedals
There are times when the vehicle is in the ready mode, there are no indications externally that the vehicle can move and yet if someone accidentally hits the pedal, say when someone's inside, the car will move.
There are lots of really good guitarists, but they play with the same pedals that everybody else does. Everybody buys the same pedals, so the sounds tend to be the same. I am looking for different ways of doing that without having to spend days and weeks and months fooling around with pedals, which I don't enjoy.
An engineer can look at the data, but he needs a translator from the cockpit - the driver - to understand it completely. For example, only the driver can tell you why he abruptly takes his foot off the gas pedal at a certain point. The data doesn't necessarily tell the engineer whether the driver made a mistake at that point or the car was acting up. The information the driver provides often helps determine the direction of development.
Courage is a gas pedal and fear is a brake; when we go to our destination, we need both!
If Church history teaches us anything, it is that we cannot afford to be a vacillating Church. We minister to a people who are in great need of hearing truth, we dare not make any attempt to soft pedal that glorious truth.
The overwhelming joy of conversion or a new calling is often followed by feelings of being overwhelmed with duties and doctrines. The first joyous feelings are real and give one much-needed initial momentum. But the genuine exhilaration is soon followed by the need to perspire and to pedal.
Miles Davis would have this lineup of all these amazing musicians and one day would just say, 'We're done.' After tons of great records and tickets sold, he said, 'Now I'm going to grow my hair out and play my horn through a wah-wah pedal.' Rather than play it safe, he went on.
If the gas pedal on your car is shaped like a bare foot, you might be a redneck.
My hell is going to be the stairmaster wing of Dante's inferno, where they're gonna tape my feet to the pedals and the only music I get is Michael Bolton karaoke style.
Capital punishment, that thing scares me, it really does. I was talking to my friend about the electric chair, and he starts freakin' out. He's like 'the electric chair? That's too good for these people. That's too good for them'. Alright, how do we make the electric chair worse? How about this? They have to pedal a car battery to their own head. Is that ok? Is that enough, Mr. Hitler?
Usually I don't think much in terms of interesting sounds. Although I think I want to get one of those whammy pedals, I forget what it's called and who makes it. It's got a whole bunch of different settings. You can play a note and it will raise the pitch when you push the pedal.
It's amazing. It's actually build from old Siemens Telefunken transistors from the 60ties. There is like 10 in there. It's the most powerful distortion you can have. It does not only do distortion, it does so many weird things. You can't control it, it's sound different all the time. But it's an endless source for fantastic sounds. For example the track "Transit" is entirely made with this box. You have to put the guitar sound in. It's like a pedal.
Sometimes you've got to draw a line between having all the options and being a slave to the things, using them every time you play the guitar. I'm trying to keep a real inconsistency to the pedals so that it is something new every time.
Working with devices and guitar pedals and mixers and synthesizers is what I do, and I prefer people not focus on that because it's kind of distracting from what the point should be. At least for me, it's to have the primacy of aurality in the experience of that evening.
Every part of every song can have a totally different musical sound, because otherwise if I wanted to go from a verse of one song to the chorus of another, I'd have to go: "Uh, okay, press that pedal and then... press that pedal, and then press that pedal off."
If I like hardcore straight-edge punk music, gentle psychedelic folk music, gangster rap, indie-rock with a lot of guitar pedals, and I find inspiration from all these things in different songs of mine, shouldn't I be allowed to make any of this kind of music that I want? And it's the same for the comic books, why should I only make autobiographical stories? Or only political stories? Or only superhero stories? Or only comedy stories? I am a bit creatively desperate, when I sit with a pen and paper I am desperate for ANY idea that makes me excited, I don't care what kind of idea it is!
Frank [Zappa] always wanted to do a sound library - he sampled so many great musicians. For piano, for example, he sampled every octave, not just one (that you could just transpose electronically), and he did all different types of attack, with and without pedals, all that kind of stuff.
I always feel like the less I think of stage presence, the better, because then I have to face the fact that I have really complicated guitar parts, I'm singing almost all the time, and I have like six pedals I've got to keep on top of
It's not like you're being fake, it's just the way you color it, like a guitar player uses pedals or different effects. That's why I get so mad about people who are down on vocal reverb. It's not a crutch, people, it's an aesthetic choice!
The irony is that I use computers every day of my life to do music because I edit all of my music in a computer. But when it comes to doing live processing, I prefer, as a performer with an instrument, not just having the computer as the only thing I have. I really prefer and find it much more flexible to have the limitations of pedals.
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