We've been waiting for quit a while here! Is that really a live recording? So the applause is all real? Well deserved if so. After the wild intro (and I really didn't know what to expect) the guitar theme is outstanding. The melody in the middle (the one that gets some spontaneous applause) sounds like a cover of some legendary song. If it's yours - kudos - just beautiful...engaging and so well performed. The transition to the darker electronic part is unexpected, brilliantly done and the reverse guitar, strings and crisp trip hop beat blend very well. Intense, powerful - the brass section is a great idea - I would have loved to hear another five minutes of that last part with the guitar melody brought back. I would have been one of those cheering guys in the audience though. Great performance, full of creativity, talent and energy. Awesome.

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WOW ! This is one of the best i've ever heard at MJ, GREAT Music Composition, the guitar sound really clear and very great work with the backing instrument ! Seems like a live recording but GREAT to my ears !
VERY VERY GREAT POST ! Much Enjoyed

Take Care
==============
Yeman Auf Al-Rawi

Fingerstyle : � The Sound of Nature

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Thanks matey: The legendary theme is the George Harrison song of the above name and my mate Dave came up from Manchester one day and said what about having a bash??? I said okay and so began a labour of love. The guitars were miked using an M-Audio condenser and a direct line from the piezo electro pickup, panned hard left and right. The pan field was mirrored between the rhythm and the lead acoustic. Ultrabeat is one hell of a beast to learn, but once engaged, it's even more entertaining than a Wii! (And that's saying something!!!). It was difficult to augment the acoustic to the DnB section and so I did a theme and variation based on the verse structure and added the EBow with a BPM delay. The second harmonic is clearly heard in the last few bars (over the top of the fretted note) and that's possible of the single end nature of the Mesa Lonestar Special at just 5W. The PYO is nothing more than GB Jam Pack 4 symphony instruments comprising Bass (C), Cello (med R), Viola (med L), Second violin (hard R) and First violin (hard L). As a big fan of John Barry, I always love the way he takes an arco (bowed) string section and adds sassiness by using brass. In this case, I added French Horn (R) and for the reprise added Trombone (L), the latter one octave lower in the register for added ooomph! It was all done in one take and I dedicated it to my wife Katherine who insists it's the most powerful pieces she's heard. Say no more!!!

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That's a very nice rendition of the ol' Bea'les tune. The applause seems natural, as if it were a live recording in front of a few thousand. The transition to the electronic section threw me at first, but the ebow'd section tied it together nicely. Good job, Girk.

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I heard a number of versions of WMGGW: The first being off the "White" album (or is it just "Beatles"?). By this point, they'd given up touring, McCartney was writing good tunes (Helter Skelter) and George Martin had reached acclaim with Sarge Peppers. It's simply their best album (although I've always felt that Lennon is beginning to clown around by this point...)
On the original version, there's a lot of orchestration to go on with (almost ditty style), it's got that typical Martin vibe to it and George Harrison's song, I think, is simply the best on the whole album.
I heard a few other versions, the most famous probably being with Eric Clapton at the Concert for Bangladesh that George Harrison did. But Harrison pisses (sorry for the profanity but it is required!) all over a comatose Clapton who is just shocking. There's a version with The Muppets (Yes! Move over Slowhand & let Kermy take over!!!).
The best of all though has to be from Steve Lukather (Toto). It's simply unbelieveable. That voice, the arrangement, those two solos... Stormin'! Check it out on Youtube.
The Lukather vibe is so excellent with a beatbox-type arrangement for the first verse and bridge section it got me thinking about tieing a two piece acoustic section to a beatbox (in my case UltraBeat) climaxing with a full (George) Martin-esque orchestration in reference to the original studio cut. I couldn't help but "Bassey" (as in Shirley) it up ala John Barry with a bit of heavy brass with the PYO. The piece was recorded as one take, although obviously the structure and programming had to arranged and mixed as appropriate. I'm very pleased the EBow is appreciated. I used a wah to get the second harmonic out at the end. It's a very sexy, seductive, smoochy thing and...'Oft underrated! Kind regards!

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...really well produced and played.

Love the eBow snaking in and out of the orchestration. Would have been too much to put it full foreground the entire solo (IMHO). Really tasteful.

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Thanks for the comments Bob: I used the E Bow because basically between Harrison, Clapton and Lukather, the conventional route of soloing had been pretty much covered.
The E Bow always gives a surprise as you never know what to get from the results: Too close to the neck P/U and it gives too much, and the strings rattle shrill against its underbelly, like a Wahl Clipper; Too far away, and it gives nothing at all!
I find it can be very seductive, meandering with the notes as you can only hammer on or pull off as there's no pick, and used with the orchestarion, I felt it worked well with the strings.
It's a one take performance throughout (no over dubbing on any of the guitar lines) and no merging or looping. WYPIWHG!!!
Kind regards, Girk

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George Harrison (and Beatles) fan I am very impressed with your arrangement.Nice solos-The whole thing is great.I'm sure you've heard the acoustic version from the "Love" album which is beautiful.
Nice work!

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Nice production Love the guitar work.
Peace Dee

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