Best option to sustain a chord

How badly do you need it to be a chord? One thing I've been playing with is using an E-bow to sustain a note at a more or less constant amplitude, then I loop it - generally if you're careful, you don't hear the seam at the end of the loop. Then I engage half speed on the looper to drop the pitch and turn it into a very cool synth-y sounding backing for soloing.

Reverb hold is better in terms of seamlessness, but being able to drop the pitch in the looper makes that option a lot of fun for me.
 
NaturalScience said:
How badly do you need it to be a chord? One thing I've been playing with is using an E-bow to sustain a note at a more or less constant amplitude, then I loop it - generally if you're careful, you don't hear the seam at the end of the loop. Then I engage half speed on the looper to drop the pitch and turn it into a very cool synth-y sounding backing for soloing.

Reverb hold is better in terms of seamlessness, but being able to drop the pitch in the looper makes that option a lot of fun for me.
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Badly need to hold a chord if you want to play solos over chord progressions. i.e.: intro of "Shine on your crazy diamonds"
 
I think using a hold function to put down shell chords while you play over them would qualify as experimental jazz. :)

Maybe the Looper could give you what you need.
 
curious said:
Eric Johnson use shell chords as arpeggios in Cliffs of Dover.
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From what I read of shell chords (never heard this term used before), the idea is to include a minimal number of notes to convey the harmony of the chord. From my past learnings, this is usually accomplished with the 3 and 7... Although adding the tonic is more defining, so 1, 3 and 7. These are "close voiced" chords.

What Eric Johnson uses quite frequently are open voiced arpeggios... This is different. That is often (in his use) 1, 5 and 10 (3rd an octave higher) and 3, 1, 12 (5th an octave higher). The key here is that one note of the arpeggio is displaced an octave higher.
 
unix-guy said:
From what I read of shell chords (never heard this term used before), the idea is to include a minimal number of notes to convey the harmony of the chord. From my past learnings, this is usually accomplished with the 3 and 7... Although adding the tonic is more defining, so 1, 3 and 7. These are "close voiced" chords.

What Eric Johnson uses quite frequently are open voiced arpeggios... This is different. That is often (in his use) 1, 5 and 10 (3rd an octave higher) and 3, 1, 12 (5th an octave higher). The key here is that one note of the arpeggio is displaced an octave higher.
Click to expand...
Correct. EJ uses drop 2 voicings.
 
chris said:
So a chord. Ok.
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Yes, minus the 5th which opens things up a bit more. It makes it easier to play with the other 9 notes.

Rex said:
I think using a hold function to put down shell chords while you play over them would qualify as experimental jazz. :)

Maybe the Looper could give you what you need.
Click to expand...

Yes, there is that.

I didnt know there was a "reverb hold" I need to look at that. Thanks for all the replies. I knew it was in the box since everything else is hehe
 
I managed to get the hold going and it seemed just right last night but this morning when I fired it up there is a slight issue for me.
I can hold the chord but when I switch scenes to a different tone / verb etc.. the pressing of the switch adds noise to the held chord.
 

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