Tag: Joe Satriani

Consulting with Bryan Beller, Part 2

(In case you missed it, you can find part 1 here.)

On the topic of promotion

One thing I mentioned to Bryan was my discomfort about self-promotion. It’s something that I just very much dislike doing, but I wanted to hear his genuine thoughts about it.

Nobody owes you their time.
Nobody owes you a thing.
You’ve got to go get it. Every time.
You’ve got to go out and tell people about you, because nobody’s going to advocate for you more than you are going to advocate for yourself.

If you think that you’re for whatever reason not worthy of shouting from the rooftops about what it is that you’re doing, then that’s what other people are going to think too.

Part of it is crafting materials that you’re proud of.

– Bryan Beller

Other cool clinic/consulting interviews of Beller can be found here:

https://www.youtube.com/watch?v=u-GY6aY1mKc
https://www.youtube.com/watch?v=rr-xVodrpgo
https://www.youtube.com/watch?v=rwlYXqKnPyk

Consulting with Bryan Beller, Part 1

A couple of weeks ago, I scheduled a consulting session with one my favorite musicians, Bryan Beller. Bryan needs no introduction, but he’s played with Steve Vai, Joe Satriani, Mike Keneally, Dethklok and of course his own superhuman band, “The Aristocrats”. He has a solo career too, where his own touring band members are the exact same members as the Mike Keneally Band. I’m a huge fanboy, and always found his bass tones ridiculously amazing. I’m not even really a bass player and I’m a fan. Go figure. While some of the conversation topics shall forever remain private, there are other things that I can share here that may be of interest to folks out there.

On how he got his bass tones from the studio, on the latest Joe Satriani record “Shockwave Supernova”, as well as on his own records (solo, Aristocrats).

For the recent Satriani record, he used the A-Designs REDDI. Distortion came from the Sansamp plugin. The recording chain was decided by the staff, rather than him. There was an AMPEG rig in an isolation room, miced up. DI was duplicated, and SansAmp bass-driver plugin was put on one of them.

On his own records (Aristocrats, Solo), he decides on the recording chains. The signal path is not the same as his live rig. On records, they’re typically DI – one clean DI, one dirty DI, blended together. The dirty DI is done using overdrive pedals.

For the song “Oh No” from The Aristocrats “Culture Clash” album, he used a combination of overdrive/distortion pedals – the Dark Glass Electronics B3K overdrive, and the Dunlop M80 distortion DI together. No mic cabs were used.

On whether the Aristocrats albums were mixed In-The-Box (ITB) or Out-of-The-Box (OTB)

First two albums “The Aristocrats” and “Culture Clash” were completely done ITB – i.e., within protools. The third record “Tres Caballeros” was mixed hybrid – i.e., with both protools and the console. I have always been curious about this because I’ve always really enjoyed the sonics (and the songs) of the 2nd record (“Culture Clash”).

If you’ve watched some of Bryan’s DVD extras for his solo records, you would notice that those albums were all mixed ITB as well (AND sounded awesome).

On how he works through writers block

Time. When forced a deadline, you’re just pushed to write. There was one song that he wrote in 6 hours because of this. But he recommends going away and coming back to it.

“Sometimes you need to live through the life experiences to be able to have something to write about.”

On how he keeps himself from repeating himself when coming up with new parts or contributions (on his own records or records for others).

He doesn’t really think about it like that. He just writes whatever works. The parts would always be like “different children from the same parent”.

This is an interesting answer, because I know Mike Keneally has mentioned publicly that he really puts emphasis into not repeating himself. These are very different approaches from two people that have worked so closely together for 20+ years! Fascinating indeed.

On how he approaches his work differently when it is his own project vs supporting another artists

Doesn’t try to approach anything differently. Some artists might want something a bit more basic, and just to play the song as it was written. It’s just whatever that works to serve the song/songwriter.
It’s usually up to the producer to make the balance. For Aristocrats each member produces his own songs. (Typically, each member contributes 3 songs – and their producing styles are quite different.).

On what piece of work he’s most proud of and why

  • “Love Adrenaline” (which happens to be my favorite song he wrote too). Writing process for that: He had a good idea of where he wanted the song to go, and he just ‘chipped away at it’.
  • “Through the Flower” (Aristocrats).
  • Playing-wise, couple of songs from Keneally’s Sluggo album. “Life’s too Small”
  • Proud of “Smuggler’s Corridor” too.
  • He’s more interested in compositions than anything in his playing.
  • Hopefully his playing makes the song better. Otherwise he feels that he’s doing it wrong.
  • Favorite work of his usually are ones that are the better songs and ones that he has an emotional attachment to.

On how he writes

Yes. He grew up playing piano and his writing always comes from it first. The piano is how he visualizes music.

Bonus tidbits if you’re still reading this:

  • I found out that Bryan went to school with Tobias Ralph from The Crimson Projekct (who also played drums on my record)!
  • Bryan finds my music weird. I was a bit surprised to hear that at first, considering some of his past work he’s done, so I’ll more than gladly take it as a compliment (… even if it wasn’t meant to be one!)!

(Continue to Part 2 here)

Joe Satriani Commenting on His Approach on Writing Guitar Instrumental vs Non-Instrumentals

Just came across a new interview with Joe Satriani. There was something interesting I found around the 10:45 mark where he discussed his approach in writing instrumental music vs vocal-oriented music.

http://on.aol.com/video/joe-satriani-on–shockwave-supernova–518967893

Here’s the quote from the video, starting at around 10:45, transcribed for you here to digest:

In instrumental music, the solo section is often used as a ball of frenzy. You know what I mean?
Because you already played guitar – minute and a half, leading up to it, right?
Sometimes people want, just a ball of frenzy -“You’re a guitar player and I’m only listening to you because you do your thing” you know?
And of course I kind of rebel against that, immediately. Anytime sometime tries to put me in a space and say, “Please go do what we ask”
I’d go, “no i’m not going to do that”.
Right, just because, I”m not going to do that.
There are a lot of these spaces where I don’t feel that’s the right thing to do.
Perhaps it’s the attitude, the setup that, convey the real message.

Maybe when the solo comes, you kick back and you can show the other side
if I can get a little more song-writing-vibe about this, I’d say
You can use the solo section as a bridge
and that way you don’t have to put in a bridge.

If you got a vocal song you need a bridge to give you another side of the story
and it’s usually a softer sell
sometimes if the verses are dreamy
the bridge can be something that’s pretty outrageous

It could be 2 sentences. The break out part of the story.
The instrumental can be something different sometimes
because you can’t get away with 2 verses back to back
you have to go intro, verse, right to the chorus, and then somewhere else, because you don’t have words…  To give a different take on this story telling…

So then this leads me to this idea that maybe the solo should not be a ball of frenzy, that it should not be a self promotional thing where you say, again, that after 15 records, you can really play the guitar, and I’m going to show you right now.

Because that bothers me when I’m listening to a record, and I go, that guy is really trying to hammer me with that, you know.

So I would take certain songs –  I tell the guys in the studio, “The solo is going to soar. This melodic thing – you can play though through it.” Whereas another song or solo, they may go, “If you play a lot of notes here, pull it in tight, so you’ve got a really rigid canvas to put the ball of the insanity on top of it.” We have to think about that as we put together the record to make sure we produce every song right. I mean I’m looking at that too, but I’m thinking, “This record has needs to be the most melodic, and I want every solo has to have an invention in it, a motif.” Every couple of bars is a signature that you would say is a melodic signature, not just proof again that, “yes he did practice for all those hours”.