Hi there! I've been trying to figure out some of the techniques Robert Fripp and Brian Eno used. Something that's popped up a lot for tracks like Bowie's Heroes is that Eno ran Fripp's guitar through a synth he carried in a briefcase. I can't really afford much hardware, so I was wondering if anyone knows a way to do this with a DAW. I use Cakewalk as a DAW, so if any has anything for that specifically that would be very appreciated.
Sidenote: I wasn't really sure where to ask this, since it involves both synths and guitars. If this is in the wrong place, just let me know.
One day, Robert Fripp woke up, in the middle of a forest with nothing but a rather shattered path in front him. He could not get up, so he crawled toward a large fortress. “Whoa,” he said to himself. Are those the iron gates of fate? “Wait a second, are those the seeds of time taking root in the nearby soil?” Yes, he was right. With the sunlight brightly gleaming above, he opened the gate. Inside? Instruments of death and destruction. A trumpet capable of producing fatal sonic blasts. A bass clarinet that could make a man march for a reason (any reason, mind control). Even some drums that could blow up the surrounding perimeter. He proclaimed to himself, “Huh. The fate of all mankind I see is in the hands of foooooooools.” He started to weep: “I fear tomorrow I’ll be crying…”
Did you figure it out yet? Robert Fripp used this story as inspiration for a new piece:
Farewell the temple master's bells His kiosk and his black worm seed Courtship solely of his word With Eden guaranteed For now Prince Rupert's tears of glass Make saffron sabbath eyelids bleed Scar the sacred tablet wax On which the Lizards feed Wake your reason's hollow vote Wear your blizzard season coat Burn a bridge and burn a boat Stake a Lizard by the throat Go Polonius or kneel The reapers name their harvest dawn All your tarnished devil's spoons Will rust beneath our corn Now bears Prince Rupert's garden roam Across his rain tree shaded lawn Lizard bones become the clay And there a swan is born Wake your reason's hollow vote Wear your blizzard season coat Burn a bridge and burn a boat Stake a Lizard by the throat Gone soon Piepowder's moss-weed court Round which upholstered Lizards sold Visions to their leaden flock Of rainbows' ends and gold Now tales Prince Rupert's peacock brings Of walls and trumpets thousand fold Prophets chained for burning masks And reels of dreams unrolled Night enfolds her cloak of holes Around the river meadow Old moon-light stalks by broken ploughs Hides spokeless wheels in shadow Sentries lean on thorn wood spears Blow on their hands, stare eastwards Burnt with dream and taut with fear Dawn's misty shawl upon them Three hills apart great armies stir Spit oath and curse as day breaks Forming lines of horse and steel By even yards march forward
I'm looking for some very creative ambient music.
He should be in a bundle of 2000 v-bucks with Toyah and Bill bruford. Also Les Paul picaxe with fender edit style. Larls lobby music
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I think the solo on David Bowies -Fashion is fantastic. I love his use of a descending sequence as the intro. I love how he's playing outside/atonal licks on a piece of pop-dance music. His articulation and rhthmic phrasing is very odd and I like that and to top that all off his tone is just weird, metallic, robotic and a bit sci-fi'ish in my opinion.
How would you describe Fripps style? I'd love to hear him play atonal/outside stuff. I'm not a huge blues fan. Could anyone recommend some work of his which showcases his weird ,chromatic style as opposed to rock that is more based in blues?
I mean, he does creepy and terrific videos with his wife, he does videos where you can pay him for saying anything. What the happened to our old cryptic Fripp.
i hope he does
little background context: i have always been playing music and having an insatiable gravitation towards rhythm, beginning from early childhood (20 now). which developed into an ineffably intense relationship with music, which the psychedelic exploration stimulated to evolve into a novel, overwhelmingly, differently intense and much more dynamic, chaotic, liminal, open relationship.
and when i found robert fripp and king crimson abouT a year ago and read about his relationship with music, it, and his and king crimson's music felt so familiar, organic and intuitive to experience and exploring it in altered states has been a most special experience. and so i wanted to share his words about his relationship with music and encourage people to explore the art communicated by him and king crimson.
here are his words:
John Barclay-Morton: How would you describe the experience of whatever it is that attracts a musician’s attention?
RF: Music has an intelligence of its own. This intelligence, which works within and through music, is benevolent and compassionate. It wishes to be available.
I recognise this viscerally: ie primarily in the body. I have sensed the arriving presence of KC within the incarnation, as at rehearsals in Leipzig, June 2019; and within the KC music, as at the Albany rehearsals on Saturday 21st. August 2021 (LTIA I and LTA II).
In terms of composition: writing LTIA II at the kitchen table of Thornhill Cottage, Holt in mid-1972 – consulting my body for the shift from one bar of 11/8 to 5/4 in the middle climbing section, and the rhythm of the stabbing chords in 5/4 at the beginning.
A visceral sense and feeling of rightness appears, which I then accept. This is primary. We may discuss technical aspects of developing form and variations; tailoring these to particular musicians; and then taking the music out into the world. This is secondary.
There is a part of who I Am which resonates at the same frequency as the Music-within-the-music: a spark of the noumenal within the phenomenal. This is the part of us which recognises and responds to the subtle shifts and shifting within the music-being-played. This is not quite – I Am the Music and the Music is I – but not far away either.
My own proper work in life is to enable, encourage and support the direct experience of music; alternatively expressed, realising the intelligence within music becoming present and available to us; and what we need to do, practically, to become present
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