Though he doesn't seem to approach it this way nowadays so much, I have always enjoyed Scofield's use of delay in his sound. It's very subtle. I'm nearly certain it must be a shorter delay time with virtually no feedback. On Vince Mendoza's fine out of print CD "Instructions Inside," the cut "Say We Did" exemplifies very well what I'm after, although he used this sound more or less throughout the 80's and 90's on many recordings. I wish I could find this sound with my Yamaha UD Stomp delay as it's a really excellent, versatile unit that allows for lots of control with up to 8 delay lines. Yes, I use it in stereo. So far I haven't been able to find what it is that makes his sound so appealing to me. It's what I'd call an imaging effect more than a classic use of delay. It is not what I'd characterize as a chorused sound as others commonly use it. You don't hear any repeat echo in it at all. It's more of an ethereal ambience thing, yet it isn't reverb. Pat Metheny also approaches this sound but not in quite the same way. A big part of his sound appears to be the Lexicon Prime Time II and several speakers spread around the stage, some direct through monitors and others delayed at 13 and 26 ms. Even knowing this much, this sound remains elusive for me. Any suggestions from anyone? Thank you
>>By Chotz (Monday, 22 Mar 2004 20:39)
I picked up Enroute about a week ago; still getting into it, but my early impression is that these guys play like they were born of the same womb! Very tight, great interplay. As usual, Scofield comes up with some amazingly funky but jazzy ideas; big, thick chunks of sound that him and the other members proceed to dissect. Bill Stewart is one of the top 5 drummers out there, regardless of genre. Steve Swallow provides steady, tasteful bottom end. What jazz was meant to be-more of an attitudinal thing...
>>By zot99 (Saturday, 31 Jul 2004 19:54)
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