A Mark In Time
Mark Knopfler Discussion => Mark Knopfler Discussion Forum => Topic started by: quizzaciously on November 21, 2017, 01:21:13 AM
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So It turned out asking Guy Fletcher something is a complete waste of time, from my two attempts of asking the damn question, he answered he "DON'T BELIEVE" there was an open tuning guitar in the song, as if he wasn't recording it at all. Why his forum even exist? I thought you can get answers at least on the technical side of things, but it's as if his guesses are as good as mine. And my first question... he just ignored it! I'll NEVER EVER ask something on his forum again. You can call it boycott.
From time to time I return to this song and I still can't play it. Obviously, the tuning is odd, Mark plays it in full right in the last stroke. Official sheet music says simply — Drop D tuning, capo 3rd fret. It's obvious and it works fine, until the chorus begins and it sounds really bad with the Drop D. I'm aware about the quality of these books, so it can be something else.
I tried Open G tuning and right away it sounds much better (thanks for "confirmation" Guy!). And even the chorus sounds better, but there's a problem again. I can't get this vibrato AND the rhythm at the same time, I just can't. If you listen closely, you can hear vibrato notes being played simultaneously with some other strings, the part goes all over the place. Especially towards the end of the song. And how you can play the second chord of the chorus if there's no open tuning I have no clue whatsoever. And since I have the same exact model of guitar the song was recorded with (Gibson Advanced Jumbo), I can tell the vibrato notes are not in the 7th position, I think it's more like the 2nd position.
My problem is, either the vibrato sounds good and the rhythm goes bad, or vice versa. On Guy's forum he said about overdubbing something for the song, but stated that it's still one track (what?). So I can't believe Guy, I can't believe official book and I can't believe myself. Every time I sit down to learn the song, I end up with nothing. I can get it to sound quite close, but quite isn't enough and I just leave it alone. And now Guy can't say a thing about it. What's happening? I never thought I'd ever get stuck in transcribing something :disbelief
And each day I think that I respect Guy as a musician, but as a man he's such a fishy person... Looking forward only, no EQ on Tracker, best album ever, happy microphones, happy smell of tape... Oh... I'm done with Guy. Either the recording was altered in some way, or I can't hear anything or something's wrong, I don't know. Bottom line — I can't play it.
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There are a few reasons I have never bothered to join his forum all these years and your experience confirms I have been right to do so, or not to do so...whatever. :hmm
These reasons, if anyone is interested:
I feel uncomfortable asking Guy about Mark related topics all the time.
I always speak my mind and feel that this would result in none of my posts making it onto the forum!
Sometimes he can be rude by ignoring people.
He discloses so little (sometimes understandably) that I would hardly ever take the opportunity to post there anyway.
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I totally understand your frustration. To me, In The Sky is also an endless source of frustration but lyrically wise. Never really got worked it out. As I have not the slightest idea about chords and tabs and the only capo I know us from the Godfather, I cannot help you. But it is somewhat nice to see that there is at least ONE Knopfler song that makes you go crazy. You would seem too much as a super music mutant in the other case. Don't be too hard on yourself. And to be fair I found Guy's answer not too rude, by pure number of words he wrote... ;-)
LE
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I totally understand your frustration. To me, In The Sky is also an endless source of frustration but lyrically wise. Never really got worked it out. As I have not the slightest idea about chords and tabs and the only capo I know us from the Godfather, I cannot help you. But it is somewhat nice to see that there is at least ONE Knopfler song that makes you go crazy. You would seem too much as a super music mutant in the other case. Don't be too hard on yourself. And to be fair I found Guy's answer not too rude, by pure number of words he wrote... ;-)
LE
Almost every song gives me a great deal of frustration when I pick it out. I thought Privateering would be impossible, but I did it, and songs like Je Suis Désolé gives me a lot of hard times. But usually no more than a couple of weeks. With In The Sky, I can't come to a conclusion and say "this is it" for months, because there's too many trade-offs... One day you think you got it, but then realise no, it can be that way. And here comes Guy basically saying "I don't know". Okay, no open tuned instruments, I get it. But what tuned instruments? Maybe one day I'll get it... Good luck with getting the lyrics, LE!
P.S. Godfather bit was awesome :lol
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Guy has become an endless source of vagueness.
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"I don't believe" doesn't mean he is 100% sure
I think that even Guy can't rememeber excatly 100% accurate what was going on in studio for all recodings he made. It's impossible, and I don't think that all is writtent and archivied.
So it's only his memory. Don't take all of his answers as pure truth.
since I read in an itw Mark saying that trawlerman song was played on the 54 strat in studio, and we know it isn't, I don't always believe all that comes from answers by Guy. He can make mistakes, he is just human after all!
Anyway, could it be that the 2 different parts were recodings separately, but each one in one take ?
"one take" (I think it's what he means by "one track") doesn't mean all parts were recorded "live together"
of course I could be wrong too
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"I don't believe" doesn't mean he is 100% sure
I think that even Guy can't rememeber excatly 100% accurate what was going on in studio for all recodings he made. It's impossible, and I don't think that all is writtent and archivied.
So it's only his memory. Don't take all of his answers as pure truth.
since I read in an itw Mark saying that trawlerman song was played on the 54 strat in studio, and we know it isn't, I don't always believe all that comes from answers by Guy. He can make mistakes, he is just human after all!
Anyway, could it be that the 2 different parts were recodings separately, but each one in one take ?
"one take" (I think it's what he means by "one track") doesn't mean all parts were recorded "live together"
of course I could be wrong too
When he talked about Trawlerman Song was he referring to rhythm or lead?
Regarding one take recordings I'm 99.9% sure it means live in the studio. That being said, In The Sky would not fit in that category since there are obvious overdubs - Mark's the only guitarist featured on the album and you can hear both eletric and accoustic very clearly on the song.
To be honest I'm writing this and can't really remember if I'm talking about the same things you guys brought up lol shouldn't post after longer hours of studies.
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When he talked about Trawlerman Song was he referring to rhythm or lead?
Regarding one take recordings I'm 99.9% sure it means live in the studio. That being said, In The Sky would not fit in that category since there are obvious overdubs - Mark's the only guitarist featured on the album and you can hear both eletric and accoustic very clearly on the song.
To be honest I'm writing this and can't really remember if I'm talking about the same things you guys brought up lol shouldn't post after longer hours of studies.
there are only 2 guitars on trawlerman : Mark's lead on the LP58, and Richard's rhythm on Gibson Southerner (confirmed by Chuck Ainlay on Mknews). So no electric rhythm
http://www.mk-guitar.com/gear-on-all-songs-for-all-albums-wiki/gear-on-album-shangri-la/ (http://www.mk-guitar.com/gear-on-all-songs-for-all-albums-wiki/gear-on-album-shangri-la/)
Mark was refering to the lead but was wrong. Maybe he tested different guitars and among them there was the 54, and maybe that's the reason why he played it on the first leg of the tour in 2005
You can play "live in the studio" but releasing the 10th take on the album, and you can record tons of overdubbs, but each one being the 1st take (Page'solo on since I've been loving you is one take, but of course not live with other instruments)
So when Guy says "one track", I'm not sure what he is referring to, and moreover ten years after recorded it. How can he remember exactly all sessions he has done during his whole career ? it's impossible !
If we have so many infos about Beatles recordings for example, it's because EMI engineers wrote all and classified all. But are we sure that Chuck and Guy did the same ? Or is it just "from memory" ?
When I see that even Mark can remember wrong, I doubt that Guy would be the recordings bible...
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"I don't believe" doesn't mean he is 100% sure
I think that even Guy can't rememeber excatly 100% accurate what was going on in studio for all recodings he made. It's impossible, and I don't think that all is writtent and archivied.
So it's only his memory. Don't take all of his answers as pure truth.
since I read in an itw Mark saying that trawlerman song was played on the 54 strat in studio, and we know it isn't, I don't always believe all that comes from answers by Guy. He can make mistakes, he is just human after all!
Thanks for your take JF! Guy obviously can ask as many people as he want, Mark, Chuck, Glenn... In the old days he would ask Mark, like one guy asked him what books on guitar playing Mark would recommend and Guy posted Mark's answer. Imagine that today! No way! He would say something like "Just google it up, you pleb!". Seems like the more Guy overtakes a control over Mark's music (co-producer, engineer, photographer, musician, director, what else?) he becomes more and more of a "star". He doesn't need his forum anymore, like was stated before. Obvious, lazy answers and no delivering more than expected at all. Of course you always can explain it by having no time (almost anything can be explained that way though).
And my question is not about gear, like what guitar was used, my question is about the way the song was played. Tuning (or recording tricks for that matter) is a big deal and if there was recording tricks involved, I just waste my time trying to pick it out. If there was no any tricks and open tunings, Mark is a genius, concluded.
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In 2007 Guy said this: "Mark picked his Gibson Advanced Jumbo acoustic and it was for the most part, one take. We did however overdub the soloing towards the end as that wasn't played in the original pass. Definitely only one track though, no tricks."
One track, no tricks, but nothing about the tuning.
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That's why I hate when Mark records all the guitars for an album in the studio himself. The songs become harder to play live, harder to learn, but more lush for the ears. Thanks to Chuck, the guitar on In The Sky sounds better than I can even pick it live, but it adds nothing to learning experience.
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Honestly I think it's played with a capo on the 3rd fret and Drop D tuning. I don't have the official transcription but I believe the chorus is played in the 5th position (x5077x and xx577x), the top note (A) is definitely not played on the top E string, it sounds too thick for that string. We hear one acoustic guitar for sure but there might be some overdubbing, probably when Chris came to play the sax parts and they rerecorded some parts to make it more a dialog.
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Honestly I think it's played with a capo on the 3rd fret and Drop D tuning. I don't have the official transcription but I believe the chorus is played in the 5th position (x5077x and xx577x), the top note (A) is definitely not played on the top E string, it sounds too thick for that string. We hear one acoustic guitar for sure but there might be some overdubbing, probably when Chris came to play the sax parts and they rerecorded some parts to make it more a dialog.
Thanks for the input. This breaks my heart as I'm accustomed to the idea of Mark's songs always capable of being performed on one guitar only. The official transcription says obvious [00077x] and [5x077x] for the chorus, but right away I can tell this isn't something Mark could've played, it's too ugly. Let alone you can't get THAT amount of vibrato using your little finger with 6th string fretted at the same time even if you're Mark Knopfler.
Man, what a song to learn.
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My [another] big problem with a grip like [00077x] or [5x077x] is that if I use vibrato on those 77ths, it blocks the 4th string! In any tuning, wether it's Drop D or Open G. And you can clearly hear an open D on the record so apparently nothing stops Mark to vibrate those strings as he like.
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My [another] big problem with a grip like [00077x] or [5x077x] is that if I use vibrato on those 77ths, it blocks the 4th string! In any tuning, wether it's Drop D or Open G. And you can clearly hear an open D on the record so apparently nothing stops Mark to vibrate those strings as he like.
Try to vibrate those 77ths more towards the top E string than towards the 4th string, it's hard to let all those strings ring but it sure is possible. Besides his incredible right-hand technique, MK's left-hand vibrato is totally awesome and very hard to copy. It's not only the right intensity but also the timing, his vibrato (on one note) varies over time.
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This breaks my heart as I'm accustomed to the idea of Mark's songs always capable of being performed on one guitar only.
I actually love it when he records songs that are so sophisticated (both in playing and mixing) that it almost seems magic. He's got the best studio in the world so why not use it! KTGC might not be everyone's favourite record but the mixing is really outstanding on that record.
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Ktgc is my favourite record
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This breaks my heart as I'm accustomed to the idea of Mark's songs always capable of being performed on one guitar only.
I actually love it when he records songs that are so sophisticated (both in playing and mixing) that it almost seems magic. He's got the best studio in the world so why not use it! KTGC might not be everyone's favourite record but the mixing is really outstanding on that record.
Kill To Get Crimson came out in the very important period of my life (start of the college time), so no wonder it's very special to me.
I tried other kinds of vibrato by the way and nothing really works. I even tried the "bottleneck" style of vibrato with fast motions along the fretboard. And it doesn't work either... It kind of works in Open G, but it lacks other things. If anyone have different results please tell us!
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In 2007 Guy said this: "Mark picked his Gibson Advanced Jumbo acoustic and it was for the most part, one take. We did however overdub the soloing towards the end as that wasn't played in the original pass. Definitely only one track though, no tricks."
One track, no tricks, but nothing about the tuning.
I think all is revealed here : "for the most part" (so obviously not for the whole part) and "we did overdubb"
I'd say the mystery is solved in the fact that Mark had to play at least 2 different parts only for the acoustic part, with maybe 2 different tunnings, (I am not talking about the Gretsch 6120 for strumming chords)), and it's maybe the reason why he never played it live
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That's why I hate when Mark records all the guitars for an album in the studio himself. The songs become harder to play live, harder to learn, but more lush for the ears.
The opposite here: I love the stuff where Mark played many or even all guitars. It sounds deeper and denser to me than when played with 'oridinary' playing style. Just like Sultans (album version) where the two rhythm guitars were played both by Mark which creates a very special sound and feel, compared to the versions where David played one of thr two (demo or single version).
But you are right, many songs do not sound as good live (e.g. Sailing to Philadelphia, ToL, Skateaway..) or cannot be played live at all (e.g. Southbound Again, Communique, Silvertown Blues, ...)
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So when Guy says "one track", I'm not sure what he is referring to, and moreover ten years after recorded it.
I got the impression that Mark is somewhat ambitious to record rhythm tracks in a first take with no later fixes ... and I guess he remembers this songs as an example for this.
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So when Guy says "one track", I'm not sure what he is referring to, and moreover ten years after recorded it.
I got the impression that Mark is somewhat ambitious to record rhythm tracks in a first take with no later fixes ... and I guess he remembers this songs as an example for this.
I´m not an expert but I recall that tracks has an electric rhytmic part, and acoustic rythmic and an acoustic playing the solos, all by MK.
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So when Guy says "one track", I'm not sure what he is referring to, and moreover ten years after recorded it.
I got the impression that Mark is somewhat ambitious to record rhythm tracks in a first take with no later fixes ... and I guess he remembers this songs as an example for this.
I´m not an expert but I recall that tracks has an electric rhytmic part, and acoustic rythmic and an acoustic playing the solos, all by MK.
Are we talking about tracks or not rather 'takes' here? The number of tracks (=different 'instruments') should be no question as we can hear each of them (!?)
On this song - just listened to again - I can however hear only one electric (Richard I guess) and one acoustic guitar (which plays a rhythm and sometimes solo)
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So when Guy says "one track", I'm not sure what he is referring to, and moreover ten years after recorded it.
I got the impression that Mark is somewhat ambitious to record rhythm tracks in a first take with no later fixes ... and I guess he remembers this songs as an example for this.
I´m not an expert but I recall that tracks has an electric rhytmic part, and acoustic rythmic and an acoustic playing the solos, all by MK.
Are we talking about tracks or not rather 'takes' here? The number of tracks (=different 'instruments') should be no question as we can hear each of them (!?)
On this song - just listened to again - I can however hear only one electric (Richard I guess) and one acoustic guitar (which plays a rhythm and sometimes solo)
In KTGC all guitars are played by MK
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Yes, the electric guitar is the Grestch 6120, and the acoustic is the gibson advanced jumbo, both played by Mark. Infos provided by Chuck Ainlay on Mknews in 2007
the question is : is there only one track with the acoustic guitar (as it sounds when we listen to the song), or did Mark play overdubb with this acoustic guitar (one track for "rhtyhm" and one track for "solo", i.e thoses two notes), which would explain why Pavel doesn't manage to play both ryhthm and vibrato in the same time, with same tunning/capo (if I understand correctly).
if there was one or several takes is another story, and isn't "important" regarding Pavel's question, imho
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Yes, the electric guitar is the Grestch 6120, and the acoustic is the gibson advanced jumbo, both played by Mark. Infos provided by Chuck Ainlay on Mknews in 2007
the question is : is there only one track with the acoustic guitar (as it sounds when we listen to the song), or did Mark play overdubb with this acoustic guitar (one track for "rhtyhm" and one track for "solo", i.e thoses two notes), which would explain why Pavel doesn't manage to play both ryhthm and vibrato in the same time, with same tunning/capo (if I understand correctly).
if there was one or several takes is another story, and isn't "important" regarding Pavel's question, imho
Exactly, I can't say it better.
One man on Facebook said that it's obvious, that those vibrato notes was an overdub and he said he would elaborate on this topic a little bit more later. I do believe this may be an overdub simply because vibratos sounds too perfect for a rhythm part regardless of the fact that it was played by Mark Knopfler. I also believe it, because Chuck Ainlay can make a fishing line sound good and we'll never hear the cut even if there is one.
I hope that it wasn't an overdub though, because the song is so great and all I want is just to be able to play it on one acoustic guitar.
But each time I sit to pick it, I can't get the results, hence this topic and my ultimate frustration.
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In 2007 Guy said this: "Mark picked his Gibson Advanced Jumbo acoustic and it was for the most part, one take. We did however overdub the soloing towards the end as that wasn't played in the original pass. Definitely only one track though, no tricks."
One track, no tricks, but nothing about the tuning.
I think all is revealed here : "for the most part" (so obviously not for the whole part) and "we did overdubb"
I'd say the mystery is solved in the fact that Mark had to play at least 2 different parts only for the acoustic part, with maybe 2 different tunnings, (I am not talking about the Gretsch 6120 for strumming chords)), and it's maybe the reason why he never played it live
My understanding is, apart from the soloing the accoustic was recorded in one take and later he used the same track to add the soloing (overdub), meaning you never hear more than one accoustic being played at the same time on the song. Why he overdubbed the solo? As you guys already mentioned, probably because he used two different tunnings, one for the body of the song and another one for the soloing. Or maybe it was Mark fooling around with the capo, as Guy suggested (came across that after writing this, I'm editing now).
It must have been a very quick setup though. We all know the perfectionist Mark is and it's virtually impossible to reproduce the same recording enviroment once the temperature in the room or the equipment placement is changed, for example.
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In KTGC all guitars are played by MK
Oh yes, you are right. The strummed electric guitar with the tremolo sounds so much like Richard; it seems here Mark had to play the 'Richard guitar' himself ;)
the question is : is there only one track with the acoustic guitar (as it sounds when we listen to the song), or did Mark play overdubb with this acoustic guitar (one track for "rhtyhm" and one track for "solo", i.e thoses two notes), which would explain why Pavel doesn't manage to play both ryhthm and vibrato in the same time, with same tunning/capo (if I understand correctly).
As we hear only one it makes sense to state that there is only one acoustic! Definitely!
Reminds me of the little story about Chet Atkins that Mark once told: a journalist stated that Chet's fingerpicking must have been several guitars overdubbed as it seemed impossible to that guy that it was played with one guitar at the same time. This upset Chet, his reply : 'With some little practice it is perfectly possible'
If the acoustic on ITS was in fact two acoustics, noone would pan both to the same stereo position in the mix except you would like to cheat and hide that you could not play both simultaneously. And this seems impossible for someone like Mark!!!
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I sat down since the last post and tried to learn that song. I always liked it but I admit I hardly ever sit down to figure out particular MK songs these days. Did a lot when I was younger. Now only if I hear something that I do not 'understand' when I hear it, and want to find out what it is.
Well, dropped D with a capo at 3rd seems good. D, G, A chords (so F, C, Bb with capo), often the F and Bb with no thirds it seems...
What is the Bb played like, is it with the low open e string, Bb and F on the a and d strings at the 5th (8th) fret and the f on the b string on top? Anyway..
You are talking about the chorus, the high notes on 'the sky' ? The high a is on the b string, 7th (10th) fret, the f on the g string, same fret, three open bass strings. Then the change to the Bb chord, same notes just the Bb in the bass with your index finger, 6th (8th) fret on the low e strings, etc.
What exactly is the question now? maybe I missed something. Sorry in case of mistakes, was rather a quick trial.
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I sat down since the last post and tried to learn that song. I always liked it but I admit I hardly ever sit down to figure out particular MK songs these days. Did a lot when I was younger. Now only if I hear something that I do not 'understand' when I hear it, and want to find out what it is.
Well, dropped D with a capo at 3rd seems good. D, G, A chords (so F, C, Bb with capo), often the F and Bb with no thirds it seems...
What is the Bb played like, is it with the Bb and F on the low strings at the 5th (8th) fret and the f on the b string on top? Anyway..
You are talking about the chorus, the high notes on 'the sky' ? The high a is on the b string, 7th (10th) fret, the f on the g string, same fret, three open bass strings. Then the change to the Bb chord, same notes just the Bb in the bass with your index finger, 6th (8th) fret on the low e strings, etc.
What exactly is the question now? maybe I missed something. Sorry in case of mistakes, was rather a quick trial.
thanks Ingo :) I was referring to what Pavel explained, but I must admit I didn't even try to play it, so I don't even know if it's (im)possible to play or not
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I also second the playing tipps TheTimeWasWrong already told before, makes all sense. The chords in the chorus should be 00077x and 5x077x, there is not that much vibrato on the 77s, you in fact need the d string but it is not that hard not to mute it accidentally. And definitely no overdub, or second track, or so
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Well, dropped D with a capo at 3rd seems good. D, G, A chords (so F, C, Bb with capo), often the F and Bb with no thirds it seems...
What is the Bb played like, is it with the low open e string, Bb and F on the a and d strings at the 5th (8th) fret and the f on the b string on top? Anyway..
You are talking about the chorus, the high notes on 'the sky' ? The high a is on the b string, 7th (10th) fret, the f on the g string, same fret, three open bass strings. Then the change to the Bb chord, same notes just the Bb in the bass with your index finger, 6th (8th) fret on the low e strings, etc.
Thanks for your Input Ingo! This was exactly my first experience with this song. I thought about all the same chords and concluded that yeah — Drop D tuning, 3rd fret, chords like that. But something bugs me... I realised how ugly this arrangement is, I can't even imagine Mark playing something like that, it's too ugly. Especially this ugly Bb chord [5x077x]. It just seems incredibly awkward to me, I don't want to play it like that. If I'd wrote this tune, this chord I would've avoid in some way, because it doesn't please me in any way.
So I started to find solutions. First and obvious idea — tuning the A string to G. It's a pretty common tuning, Chet Atkins played in that (Ave Maria for instance). It worked out well, then I thought — it's almost Open G tuning, so why not to use this one instead? I tried, and it sounds fabulous. The verse now easier to play and sounds good, but the chorus... it became more pleasing for my ears and sound close, but no cigar.
At one moment I was so sure about Open G that I even created a chord chart on Ultimate Guitar:
https://tabs.ultimate-guitar.com/tab/mark_knopfler/in_the_sky_chords_2201895
This is funny, but now I think this was completely wrong as well. After close inspection of 31 songs each time I was able to come up with the sound that pleases me, but not here. Also, there was an example of Mark melting two parts in one in tunes like Smooching (I think the exact transcription of this tune is mission impossible).
I'll soon will list all the things that bugs me in this song and maybe somebody would give his thoughts on that.
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Reminds me of the little story about Chet Atkins that Mark once told: a journalist stated that Chet's fingerpicking must have been several guitars overdubbed as it seemed impossible to that guy that it was played with one guitar at the same time. This upset Chet, his reply : 'With some little practice it is perfectly possible'
If the acoustic on ITS was in fact two acoustics, noone would pan both to the same stereo position in the mix except you would like to cheat and hide that you could not play both simultaneously. And this seems impossible for someone like Mark!!!
After sitting with this song for so long I can't be sure about something being impossible for Mark, but keeping the rhythm with THAT sort of vibrato going at the same time is definitely some king of magic. I usually don't believe in genius, but if it was truly played in one part, one take and one track, this is genius indeed. I only need the exact tuning and capo position for further inspection. But now I'm stuck.
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Also, there was an example of Mark melting two parts in one in tunes like Smooching (I think the exact transcription of this tune is mission impossible).
I guess Mark improvized several solo takes on smooching, and someone (e.g. Neil Dorfsman) compiled them together to the final result. I once watched a video clip showing Mark during the mix of smooching for some seconds, and I tell you it was full with licks that are not on the final version at all. Does someone know this video?
Same with freeway flier (but these ended at least in the movie). We are going OT now ;)
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Also, there was an example of Mark melting two parts in one in tunes like Smooching (I think the exact transcription of this tune is mission impossible).
I guess Mark improvized several solo takes on smooching, and someone (e.g. Neil Dorfsman) compiled them together to the final result. I once watched a video clip showing Mark during the mix of smooching for some seconds, and I tell you it was full with licks that are not on the final version at all. Does someone know this video?
Same with freeway flier (but these ended at least in the movie). We are going OT now ;)
This?
https://www.youtube.com/watch?v=urFCH5YuEzE
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This?
That's the one :thumbsup
Thanks :)
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Reminds me of the little story about Chet Atkins that Mark once told: a journalist stated that Chet's fingerpicking must have been several guitars overdubbed as it seemed impossible to that guy that it was played with one guitar at the same time. This upset Chet, his reply : 'With some little practice it is perfectly possible'
If the acoustic on ITS was in fact two acoustics, noone would pan both to the same stereo position in the mix except you would like to cheat and hide that you could not play both simultaneously. And this seems impossible for someone like Mark!!!
After sitting with this song for so long I can't be sure about something being impossible for Mark, but keeping the rhythm with THAT sort of vibrato going at the same time is definitely some king of magic. I usually don't believe in genius, but if it was truly played in one part, one take and one track, this is genius indeed. I only need the exact tuning and capo position for further inspection. But now I'm stuck.
Mate, you're a hell of a guitarist. I say give the song your own interpretation and present us with an ITS performance in yet another great video. That's a request! :)
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Also, there was an example of Mark melting two parts in one in tunes like Smooching (I think the exact transcription of this tune is mission impossible).
I guess Mark improvized several solo takes on smooching, and someone (e.g. Neil Dorfsman) compiled them together to the final result.
David Gilmour uses this technique for almost all his solos (according to him)
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I once watched a video clip showing Mark during the mix of smooching for some seconds, and I tell you it was full with licks that are not on the final version at all. Does someone know this video?
"full with licks"...well I expected more than on the video ;D
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David Gilmour uses this technique for almost all his solos (according to him)
I don't think this is something wrong, here's the video I like very much, compilation of the MK solo in real time!
https://www.youtube.com/watch?v=K1OBXlEC4_Q
I always hate then people and still I hate when people brag about "first takes", "one takes" or whatever (Guy Who?). You can record something from 1 take, you can record something with 30 takes. Beatles usually did an awful lot of takes, sometimes 20 and 30 and so what? They're still #1.
Mate, you're a hell of a guitarist. I say give the song your own interpretation and present us with an ITS performance in yet another great video. That's a request! :)
Challenge accepted! :lol
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Mate, you're a hell of a guitarist. I say give the song your own interpretation and present us with an ITS performance in yet another great video. That's a request! :)
Challenge accepted! :lol
I'm willing to lose this one!
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I don't think this is something wrong, here's the video I like very much, compilation of the MK solo in real time!
I always hate then people and still I hate when people brag about "first takes", "one takes" or whatever (Guy Who?). You can record something from 1 take, you can record something with 30 takes. Beatles usually did an awful lot of takes, sometimes 20 and 30 and so what? They're still #1.
fully agree, I don't think either it's something wrong :)