Re: Michael Hedges - Aerial Boundaries

[Mike Rivers]

In article > writes:

> When Michael got done with the first take of Aerial Boundaries, he went into
> the remote truck to listen
> to the playback. Steven said that Michael was so freaked out by what he heard
> that he dashed off
> into the woods, not to be seen for hours.

Was this a good or a bad freakout?

I've not heard much of Michael Hedges but what I remember about the
little I have heard has been that he's a skillful guitarist with some
interesting ideas, but with a sound that's so non-guitar that it masks
some of what's really going on. I'm sure that's intentional and part
of his style.

--
I'm really Mike Rivers )
However, until the spam goes away or Hell freezes over,
lots of IP addresses are blocked from this system. If
you e-mail me and it bounces, use your secret decoder ring
and reach me here: double-m-eleven-double-zero at yahoo

[George]

> I heard Hedges live, outside in baltimore shortly before he died. He had at
> least one full rack of stuff to create the guitar sound. I couldn't get close
> enough to the rack to see what was in it, but that was no "simple" guitar
> sound.
>
> No acoustic guitar on the planet had notes as low as those coming out of the
> stacks. I'm guess ing he had some octave splitters.
>
> Regards,
>
> Ty Ford
>
\I will ask my friend Lenny Mirizo what was in the rack
he traveled with Michel several years as his engineer
he may remember , though it has been a long time gone
George

[George]

> I heard Hedges live, outside in baltimore shortly before he died. He had at
> least one full rack of stuff to create the guitar sound. I couldn't get close
> enough to the rack to see what was in it, but that was no "simple" guitar
> sound.
>
> No acoustic guitar on the planet had notes as low as those coming out of the
> stacks. I'm guess ing he had some octave splitters.
>
> Regards,
>
> Ty Ford
>
\I will ask my friend Lenny Mirizo what was in the rack
he traveled with Michel several years as his engineer
he may remember , though it has been a long time gone
George

[George]

> I heard Hedges live, outside in baltimore shortly before he died. He had at
> least one full rack of stuff to create the guitar sound. I couldn't get close
> enough to the rack to see what was in it, but that was no "simple" guitar
> sound.
>
> No acoustic guitar on the planet had notes as low as those coming out of the
> stacks. I'm guess ing he had some octave splitters.
>
> Regards,
>
> Ty Ford
>
\I will ask my friend Lenny Mirizo what was in the rack
he traveled with Michel several years as his engineer
he may remember , though it has been a long time gone
George

[ScotFraser]

<< but with a sound that's so non-guitar that it masks
some of what's really going on. >>

The non-acousticity of Hedges guitar sound never interfered with his playing
concept, as I feel it does mightily with Adrian Legg's Ovationizing.


Scott Fraser

[ScotFraser]

<< but with a sound that's so non-guitar that it masks
some of what's really going on. >>

The non-acousticity of Hedges guitar sound never interfered with his playing
concept, as I feel it does mightily with Adrian Legg's Ovationizing.


Scott Fraser

[ScotFraser]

<< but with a sound that's so non-guitar that it masks
some of what's really going on. >>

The non-acousticity of Hedges guitar sound never interfered with his playing
concept, as I feel it does mightily with Adrian Legg's Ovationizing.


Scott Fraser

[Stephen Boyke]

in article znr1085827737k@trad, Mike Rivers at wrote on
5/29/04 5:22 AM:

> I've not heard much of Michael Hedges but what I remember about the
> little I have heard has been that he's a skillful guitarist with some
> interesting ideas, but with a sound that's so non-guitar that it masks
> some of what's really going on. I'm sure that's intentional and part
> of his style.


Such a view is common when describing a true innovator.
--
Stephen Boyke

[Stephen Boyke]

in article znr1085827737k@trad, Mike Rivers at wrote on
5/29/04 5:22 AM:

> I've not heard much of Michael Hedges but what I remember about the
> little I have heard has been that he's a skillful guitarist with some
> interesting ideas, but with a sound that's so non-guitar that it masks
> some of what's really going on. I'm sure that's intentional and part
> of his style.


Such a view is common when describing a true innovator.
--
Stephen Boyke

[Stephen Boyke]

in article znr1085827737k@trad, Mike Rivers at wrote on
5/29/04 5:22 AM:

> I've not heard much of Michael Hedges but what I remember about the
> little I have heard has been that he's a skillful guitarist with some
> interesting ideas, but with a sound that's so non-guitar that it masks
> some of what's really going on. I'm sure that's intentional and part
> of his style.


Such a view is common when describing a true innovator.
--
Stephen Boyke

[Brian Takei]

Ty Ford )
in article ews.com>
wrote:

> I heard Hedges live, outside in baltimore shortly before he died.

I caught him that tour at the Birchmere in VA. So glad I did. First
time was Blues Alley in DC. So glad I did.

> He had at
> least one full rack of stuff to create the guitar sound. I couldn't get close
> enough to the rack to see what was in it, but that was no "simple" guitar
> sound.

Nomadland.com probably still has his rig specs and rider.

> No acoustic guitar on the planet had notes as low as those coming out of the
> stacks. I'm guess ing he had some octave splitters.

I don't think so. Heavy gauge strings, and serious intent:

"By design, acoustic guitars just aren't built to speak below a certain
pitch... So if you use non-standard tuning and tune down to deepen the
guitar's voice, what you hear coming out of the box can be kind of
disappointing..."

"I get around the problem of wimpy low end by using a [Sunrise] magnet
pickup. Magnetic pickups detect the vibration of strings even when its
inaudible to the naked ear. If you put that signal through a good
equalizer, boosting some sounds and softening others, you can effectively
change the response of the guitar." - M. Hedges
ref: Rhythm Sonority Silence
by: Michael Hedges and John Stropes
pg: 31


I think he's incomparable, and what he achieved in terms of acoustic
guitar composition and performance is beyond words. I really like him.
I'm grateful.

Regards,
-Brian

[Brian Takei]

Ty Ford )
in article ews.com>
wrote:

> I heard Hedges live, outside in baltimore shortly before he died.

I caught him that tour at the Birchmere in VA. So glad I did. First
time was Blues Alley in DC. So glad I did.

> He had at
> least one full rack of stuff to create the guitar sound. I couldn't get close
> enough to the rack to see what was in it, but that was no "simple" guitar
> sound.

Nomadland.com probably still has his rig specs and rider.

> No acoustic guitar on the planet had notes as low as those coming out of the
> stacks. I'm guess ing he had some octave splitters.

I don't think so. Heavy gauge strings, and serious intent:

"By design, acoustic guitars just aren't built to speak below a certain
pitch... So if you use non-standard tuning and tune down to deepen the
guitar's voice, what you hear coming out of the box can be kind of
disappointing..."

"I get around the problem of wimpy low end by using a [Sunrise] magnet
pickup. Magnetic pickups detect the vibration of strings even when its
inaudible to the naked ear. If you put that signal through a good
equalizer, boosting some sounds and softening others, you can effectively
change the response of the guitar." - M. Hedges
ref: Rhythm Sonority Silence
by: Michael Hedges and John Stropes
pg: 31


I think he's incomparable, and what he achieved in terms of acoustic
guitar composition and performance is beyond words. I really like him.
I'm grateful.

Regards,
-Brian

[Brian Takei]

Ty Ford )
in article ews.com>
wrote:

> I heard Hedges live, outside in baltimore shortly before he died.

I caught him that tour at the Birchmere in VA. So glad I did. First
time was Blues Alley in DC. So glad I did.

> He had at
> least one full rack of stuff to create the guitar sound. I couldn't get close
> enough to the rack to see what was in it, but that was no "simple" guitar
> sound.

Nomadland.com probably still has his rig specs and rider.

> No acoustic guitar on the planet had notes as low as those coming out of the
> stacks. I'm guess ing he had some octave splitters.

I don't think so. Heavy gauge strings, and serious intent:

"By design, acoustic guitars just aren't built to speak below a certain
pitch... So if you use non-standard tuning and tune down to deepen the
guitar's voice, what you hear coming out of the box can be kind of
disappointing..."

"I get around the problem of wimpy low end by using a [Sunrise] magnet
pickup. Magnetic pickups detect the vibration of strings even when its
inaudible to the naked ear. If you put that signal through a good
equalizer, boosting some sounds and softening others, you can effectively
change the response of the guitar." - M. Hedges
ref: Rhythm Sonority Silence
by: Michael Hedges and John Stropes
pg: 31


I think he's incomparable, and what he achieved in terms of acoustic
guitar composition and performance is beyond words. I really like him.
I'm grateful.

Regards,
-Brian

[John]

>
><< but with a sound that's so non-guitar that it masks
>some of what's really going on. >>
>
>The non-acousticity of Hedges guitar sound never interfered with his playing
>concept, as I feel it does mightily with Adrian Legg's Ovationizing.
>
>
>Scott Fraser
>

When I saw Adrian in concert last year, I was amazed at how different his sound
is now from when he started out. It is truly a "created" non-organic guitar
sound. He appears to have dropped the Ovations though (at least for the show I
saw). Not unplesant, but just different. As for Michael, despite the fact
that he was beyond avant-garde, I could always tell that he was playing a
guitar.
-John Vice
www.summertimestudios.com

[John]

>
><< but with a sound that's so non-guitar that it masks
>some of what's really going on. >>
>
>The non-acousticity of Hedges guitar sound never interfered with his playing
>concept, as I feel it does mightily with Adrian Legg's Ovationizing.
>
>
>Scott Fraser
>

When I saw Adrian in concert last year, I was amazed at how different his sound
is now from when he started out. It is truly a "created" non-organic guitar
sound. He appears to have dropped the Ovations though (at least for the show I
saw). Not unplesant, but just different. As for Michael, despite the fact
that he was beyond avant-garde, I could always tell that he was playing a
guitar.
-John Vice
www.summertimestudios.com

[John]

>
><< but with a sound that's so non-guitar that it masks
>some of what's really going on. >>
>
>The non-acousticity of Hedges guitar sound never interfered with his playing
>concept, as I feel it does mightily with Adrian Legg's Ovationizing.
>
>
>Scott Fraser
>

When I saw Adrian in concert last year, I was amazed at how different his sound
is now from when he started out. It is truly a "created" non-organic guitar
sound. He appears to have dropped the Ovations though (at least for the show I
saw). Not unplesant, but just different. As for Michael, despite the fact
that he was beyond avant-garde, I could always tell that he was playing a
guitar.
-John Vice
www.summertimestudios.com

[ScotFraser]

<< > He had at
> least one full rack of stuff to create the guitar sound. I couldn't get close

> enough to the rack to see what was in it, but that was no "simple" guitar
> sound. >>

Mark Fitzgerald of Rosewood Sound in Syracuse provided PA for various Hedges
tours. He'd know.
315-437-6427. Tell him I said hi.


Scott Fraser

[ScotFraser]

<< > He had at
> least one full rack of stuff to create the guitar sound. I couldn't get close

> enough to the rack to see what was in it, but that was no "simple" guitar
> sound. >>

Mark Fitzgerald of Rosewood Sound in Syracuse provided PA for various Hedges
tours. He'd know.
315-437-6427. Tell him I said hi.


Scott Fraser

[ScotFraser]

<< > He had at
> least one full rack of stuff to create the guitar sound. I couldn't get close

> enough to the rack to see what was in it, but that was no "simple" guitar
> sound. >>

Mark Fitzgerald of Rosewood Sound in Syracuse provided PA for various Hedges
tours. He'd know.
315-437-6427. Tell him I said hi.


Scott Fraser

[George]

In article >,
(ScotFraser) wrote:

> << > He had at
> > least one full rack of stuff to create the guitar sound. I couldn't get
> > close
>
> > enough to the rack to see what was in it, but that was no "simple" guitar
> > sound. >>
>
> Mark Fitzgerald of Rosewood Sound in Syracuse provided PA for various Hedges
> tours. He'd know.
> 315-437-6427. Tell him I said hi.
>
That is who Lenny worked for, aamof I share shop space with Mark,and we
have sort of a collective sound resource going on.
George

[George]

In article >,
(ScotFraser) wrote:

> << > He had at
> > least one full rack of stuff to create the guitar sound. I couldn't get
> > close
>
> > enough to the rack to see what was in it, but that was no "simple" guitar
> > sound. >>
>
> Mark Fitzgerald of Rosewood Sound in Syracuse provided PA for various Hedges
> tours. He'd know.
> 315-437-6427. Tell him I said hi.
>
That is who Lenny worked for, aamof I share shop space with Mark,and we
have sort of a collective sound resource going on.
George

[George]

In article >,
(ScotFraser) wrote:

> << > He had at
> > least one full rack of stuff to create the guitar sound. I couldn't get
> > close
>
> > enough to the rack to see what was in it, but that was no "simple" guitar
> > sound. >>
>
> Mark Fitzgerald of Rosewood Sound in Syracuse provided PA for various Hedges
> tours. He'd know.
> 315-437-6427. Tell him I said hi.
>
That is who Lenny worked for, aamof I share shop space with Mark,and we
have sort of a collective sound resource going on.
George

[ScotFraser]

<< I share shop space with Mark,and we
have sort of a collective sound resource going on. >>

Cool. Give him my greetings. He's provided PA for a number of Kronos gigs &
we've shared a bunch of post concert beers.


Scott Fraser

[ScotFraser]

<< I share shop space with Mark,and we
have sort of a collective sound resource going on. >>

Cool. Give him my greetings. He's provided PA for a number of Kronos gigs &
we've shared a bunch of post concert beers.


Scott Fraser

[George Gleason]

"ScotFraser" > wrote in message
...
> << I share shop space with Mark,and we
> have sort of a collective sound resource going on. >>
>
> Cool. Give him my greetings. He's provided PA for a number of Kronos gigs
&
> we've shared a bunch of post concert beers.
>
>
I have been privledged to work many really cool events as part of his staff
Geraldine Dodge Poetry fest
Paul Winters "World Tree"
Klexmatics
He is a tireless at booking work though sometimes his technical prowess
works against him.
Peace
george


---
Outgoing mail is certified Virus Free.
Checked by AVG anti-virus system (http://www.grisoft.com).
Version: 6.0.688 / Virus Database: 449 - Release Date: 5/18/2004

[George Gleason]

"ScotFraser" > wrote in message
...
> << I share shop space with Mark,and we
> have sort of a collective sound resource going on. >>
>
> Cool. Give him my greetings. He's provided PA for a number of Kronos gigs
&
> we've shared a bunch of post concert beers.
>
>
I have been privledged to work many really cool events as part of his staff
Geraldine Dodge Poetry fest
Paul Winters "World Tree"
Klexmatics
He is a tireless at booking work though sometimes his technical prowess
works against him.
Peace
george


---
Outgoing mail is certified Virus Free.
Checked by AVG anti-virus system (http://www.grisoft.com).
Version: 6.0.688 / Virus Database: 449 - Release Date: 5/18/2004

[ScotFraser]

<< though sometimes his technical prowess
works against him. >>

I could see how a promoter might mistake his explanation of his newest mid/high
design for technobabble intended to wow the naive in order to get a gig. I hope
most see that as his high level of passion for acoustic realism, though.


Scott Fraser

[ScotFraser]

<< though sometimes his technical prowess
works against him. >>

I could see how a promoter might mistake his explanation of his newest mid/high
design for technobabble intended to wow the naive in order to get a gig. I hope
most see that as his high level of passion for acoustic realism, though.


Scott Fraser