Naima on Stick Guitar

Per Boysen

Per Boysen

Inspired


I recorded a cover of Coltrane's Naima today with my 26,5 inch scale Chapman Stick Guitar SG-12. Twelve strings on a board optimised for tapping so you tap with both hands (like playing the piano or harp). That's why it might sound like two guitars although it actually is a performance on one instrument.

Quantum beta: Fender Vibroverb on the six fourths tuned strings and a Fender Bassman on the six fifths tuned strings. Really happy with those clean tones for this dual output instrument!

On one of the two six strings group outputs I'm using a volume pedal that also freezes the Axe's two delays at toe-up position where instrument's output are muted (and of course the usual full instrument volume at toe-down).
 
Sound really nice Per! Remembers me of the days when I played Chapman Stick (for 6 years or so in total).
How did you do that exactly with the freezing of the delay? what settings are that?
 
Bodde said:
Sound really nice Per! Remembers me of the days when I played Chapman Stick (for 6 years or so in total).
How did you do that exactly with the freezing of the delay? what settings are that?
Click to expand...

First, I only use the volume/freeze fix on the fretboard I'm playing the melody on, so the chords fretboard output is not affected. Here are the settings:

- External expression pedal assigned to a Modulator.
- Assign that Mod to Volume/Pan block (or Gate block... or whatever block with an output level parameter).
- For freezing a Delay block assign the same Mod to the Delay block's Feedback parameter and switch the *high* vs *low* in the assignment window (to have it cross fading versus the volume sweep). Cut off bass and highs in the Delay block EQ to get a nice "timbre evolution" of sound at full feedback (when its "frozen").
- For freezing a Reverb block you just assign the Mod to the freeze button parameter in the Reverb block.

In the intro I'm freezing a reverb, but that patch also has a phaser in the chain and that phaser goes at a very slow rate that is morphed by a slow LFO. The melody side playing goes through my patch with two Delay blocks; one set to straight eight note duration and the other to triplets. And both Delays are being panned slowly by LFOs.

Not a very complex patch but you have to spend time fine tuning levels for Delay EQ cutoff vs feedback until you get that cool vibe of a hovering cloud that slowly tilts over time.
 
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