Sound of Fripp's guitar on Bowie's Scary Monsters

[alex zonder]

The B52 guitar sound question made me realise that in this forum someone might actually be able to tell me something about one of the most poignant, present and powerful guitar sounds I know. It's Fripp on Bowie's Scary Monsters, specifically in the opening song (It's No Game - Part 1) and in his raging guitar fires in Up The Hill Backwards. IMO Fripp hardly ever sounded THAT good in King Crimson; his 'Bowie sound' seems more to be a reprise of what he did in Eno's early Baby's On Fire.

The instrument is a Les Paul, that much I know. But what makes his sound in these songs so incredible (apart from his trademarked style/method of playing)and one of a kind? It has a presence that is almost violence, it's very 'earthy' while at the same time cold, sublime. 'Cold and passionate' as the poet Yeats would say.

It would be marvellous if someone would know, or would be able to guess.

So, many thanks in advance

[Mr Arkadin]

i haven't the slightest idea but i'd like to know - some of the harshest Fripp guitar to grace any record. i think a lot of the sound actually comes from the scales he's using - i mean most of the tracks sound like he's playing the wrong notes, yet somehow it all fits.

[shanecgriffo]

from memory (haven't played it for a while)it has probably got very much of the room sound it was recorded in. i think those guys used to do some major mic'ing of the room e.g distant mics . i know that was sometimes part of bowies vocal sound anyway.. as for amps and fx ,your guess is as good (or better ) than mine. i had that album when it first came out , some great sounds on there. but listening nowadays to the cd of it i bought a few years ago the production seems a little thin - i havent heard that remastered 24bit cd version tho maybe it is a bit better.

[Mr Arkadin]

bumpity bump

[RTaylor]

(apart from his trademarked style/method of playing)

Early trademark, Late trademark {after Discipline}, the psychotic but nifty stuff from the seventies with Eno and Bowie, The Fripp/Eno ambient/artsy stuff, Frippertronics or his recent trademark sound?

[alex zonder]

(apart from his trademarked style/method of playing)

Early trademark, Late trademark {after Discipline}, the psychotic but nifty stuff from the seventies with Eno and Bowie, The Fripp/Eno ambient/artsy stuff, Frippertronics or his recent trademark sound?

Well, even his playing on Bowie's Heroes is quite different from the Scary Monsters tracks mentioned. On the other hand, leaving frippertronics etc. aside for a moment, there is very recognizable timing, use of intervals and octaves etc. in one and the same Fripp from 'Baby's On Fire' (on Eno's early and non-ambient Here Come The Warm Jets) and pieces from let's say VROOOM.

Having that said, I'm more interested in the SOUND here (in this thread) than Fripp's approach to playing and timing sequences of notes, his use of scales etc.

Would you have an answer to the initial question? There's info on his gear in an interesting interview with Guitar Player ( http://www.elephant-talk.com/intervws/fripp-g2.htm ) but that doesn't give the answer I'm looking for. Part of that answer will be about mixing and mastering, I suppose.

[robogone]

I remember some comment I heard somewhere (I think by David Byrne), that Fripp had a whole bunch of distortion pedals linked together and kept tweaking them until he got the sound he wanted. I know that doesn't help much, but maybe it's in the right direction?

[Markleford]

He often times used a small amp right next to him (apart from others that were used for recording the actual sound) as a source for feedback for those infinitely long sustained slides, a la an Ebow or Fernandez Sustainer.

- m

[bduffy]

I think shanecgriffo is on to a part of it there: Tony Visconti loved to play with natural room ambience, and I bet there was some crazy ambient miking and gating going on. It's a very roomy tone. As far as amps, fx, etc...good question. This is one of my all-time favourite albums and guitar players, I'd be curious to know definitively, just for fun. But something tells me that Mr Fripp is probably tight-lipped about his secrets...

[RTaylor]

(apart from his trademarked style/method of playing)

Early trademark, Late trademark {after Discipline}, the psychotic but nifty stuff from the seventies with Eno and Bowie, The Fripp/Eno ambient/artsy stuff, Frippertronics or his recent trademark sound?

Well, even his playing on Bowie's Heroes is quite different from the Scary Monsters tracks mentioned. On the other hand, leaving frippertronics etc. aside for a moment, there is very recognizable timing, use of intervals and octaves etc. in one and the same Fripp from 'Baby's On Fire' (on Eno's early and non-ambient Here Come The Warm Jets) and pieces from let's say VROOOM.

Having that said, I'm more interested in the SOUND here (in this thread) than Fripp's approach to playing and timing sequences of notes, his use of scales etc.

Would you have an answer to the initial question? There's info on his gear in an interesting interview with Guitar Player ( http://www.elephant-talk.com/intervws/fripp-g2.htm ) but that doesn't give the answer I'm looking for. Part of that answer will be about mixing and mastering, I suppose.

That era? ...No. I'd put it down to technique rather than effects or production. I'm not positive though. I'm familiar with his music and sound but I've never kept up with his gear list. I'm even familiar with "Baby's on Fire" {having burnt out about half a dozen copies of the disk in the years since its release.}

This should do you... http://www.erictamm.com/tammfripp.html

Got any idea what Eno's "Sky saw" was?

[Holistic Ska Guy]

But something tells me that Mr Fripp is probably tight-lipped about his secrets...

Anecdotal but not particularly useful: saw Mr. Fripp on his Frippertronics tour in 1981 (I think? Date of that gig can actually be found in liner notes of "Let the Power Fall" if I remember). He sat on a high stool and remained in pretty much one position all evening, till during a break he asked the audience if we had any requests. One gork yelled out "Turn this way for a while!".

During the first number in the next set he did - for about one second.

Other requests included such valuable Q & A as "Who cut your hair?" and "Where did you get that tie?" He credits his hair stylist on that album's liner notes as well (or maybe "Exposure"), undoubtedly as a result of dozens of suburban nitwits being stunned by the idea that a "rock guitarist" could have short hair and a tie and asking that very same question.

Anyway it was beautiful. You talk abuot yer tape delays...

your HSG

[bduffy]

From Tony Visconti's FAQ page, when asked about the Heroes sound.:

A: That's Eno magic. He has an old synthesizer that fits into a briefcase made by a defunct company called EMS. It didn't have a piano keyboard like modern synths. It did have a lot of little knobs, a peg board and little pegs, like an old telephone switch board to connect the various parameters to one another. But its piece de resistance was a little "joystick" that you find on arcade games. He would pan that joystick around in circles and make the swirling sounds you heard on that track. He would also put Robert Fripp's guitar into this synth and "process" the sound.

I wonder if that 'briefcase' made it to the Scary Monsters sessions?

[geoffrey]

Don't forget to factor in the Fripp tuning as part of his sound too. The EMS trick sounds pretty darn cool though...
Geoff

[bduffy]

What's his tuning?

[GW]

Actually, it seems that EMS is still in business. They are probably the longest operating synth company.
http://www.ems-synthi.demon.co.uk/