Whom would I got to to make something totally new?

[Chuck H]

Neshel,
You might enjoy a parametric EQ in a post gain effects chain. Basically any modern high gain amp has a post gain effects loop. It would allow you to explore what you can eliminate (and boost) that doesn't take away from your preferred characteristics. You can dial in very narrow and deep notches allowing for finite control of minute nuances without much change to surrounding frequencies. Most have a few to several bands and some include a LF and/or HF rolloff option. Mybe take your rig to the pro audio department of the largest music store near you and see if it might help get you closer to your vision.

I don't know who Fadades is but I do detect some ideas in your playing that remind me of King Crimson. For me, an admitted fan of the rock/pop sound, some of it just sounds like too much dissonance, timing stumbles that are only distracting and controlled noise. But more often it seems very artfully arranged and holds my interest. That's a lot for me to say FWIW.

[Loogie]

I like the track. If you haven't already you should read up on Robert Fripp. This might be a good place to start:

Robert Fripp's Gear

[neshel]

Neshel,
You might enjoy a parametric EQ in a post gain effects chain...

...I do detect some ideas in your playing that remind me of King Crimson. For me, an admitted fan of the rock/pop sound, some of it just sounds like too much dissonance, timing stumbles that are only distracting and controlled noise. But more often it seems very artfully arranged and holds my interest. That's a lot for me to say FWIW.

I'm glad you perceive that, as it is my intent. Especially as it's improvised. A lot of guitarists over the years have mentioned King Crimson. I know why, though compared to what I've heard of them, my stuff isn't similar. The reasons are that I approach improvisation formally, rather than totally by the seat of my pants, and within that it means 'forgetting what I know' (which I am not always successful with), so that there is an actual rather than perhaps coincidental structure. This method goes back to Bach, my music instructor passing it on to me.

Here's a phenomenal example, using 12-tone sets:

Incidentally, consonance is a matter of degree and kind, dependent upon the context. Hence there is no need of the word 'dissonance'.



The Taboo Artist is based off the Chameleon configuration, which has a preQ (shelving bass, and fully par mids), and a four-band fully parametric eq. With one of my old rigs, I used a Rane five-band fully par EQ. The Axe-FX allows four five-band fully par EQs at a time, has a 'filter' block that is essentially a single-band fully par EQ (again, allowing four instances at a time), and I tried many configurations, one of the most comprehensive being two or three filter blocks pre amp combined with all four par EQs post amp. Tried using EQ'd delay blocks, which have par EQs in them, and par EQs before them - as well as using delay to double/triple/etc - guessing these might be what like Allan Holdsworth has done. No dice.

I like the track. If you haven't already you should read up on Robert Fripp. This might be a good place to start:

Robert Fripp's Gear

I'm glad you appreciate it. Yeah, I'm familiar with Fripp. Many a mentions of him over the years, as well.