SEEKINGBand to Join.
Out of circulation except for online/remote collaboration due to the COVID19 lockdowns. Primarily offering electric guitar in rock, blues and psychedelic styles, also available for co-writing, arranging and creative input/production assistance.
- Screen name:
- e e chillington
- Member since:
- Jan 19 2016
- Active within 1 week
- Level of commitment:
- Moderately Committed
- Years playing music:
- Gigs played:
- 50 to 100
- Tend to practice:
- 2-3 times per week
- Available to gig:
- 2-3 nights a week
- Most available:
Hendrix, Dylan, Pink Floyd, UFO, Bowie, for guitar, but pretty much influenced by all musical styles over the course of the past few decades.
- Rhythm Guitar:
- Lead Guitar:
- Vocalist - Tenor:
Bobs Musicband: Eagles
Bobs Musicband: Eagles Year: 2019 Genre: Classic Rock
Recorded at BoHo Digitalia in Salt Lake City, UT, as part of a web content project on February 16, 2019
CM9 FM9 start of something
CM9 FM9 start of somethingRight hand stretch, easing back into the whole composing thing after a side-track year of COVID lockdown and guitar jamming.
Gypsy Rock collaboration with Bruce Lambson
Gypsy Rock collaboration with Bruce LambsonDrum loops, bass guitar and center-mix guitar by Bruce Lambson. Lead and slide guitars by me. Bruce emailed me the mp3 rhythm track and asked if I could see where it led me, and so I did! It was two listens and I had a rough sketch in my head of "gypsy guitar verse" and "slide guitar chorus" after which it took about an hour and giving things a rest overnight to nail down the riffs and harmonies. There's a rhythm-part only section of about 16 bars before the dual guitars come in which is intended to be a piano or organ solo part. And yes, I did flub a couple of the gypsy bits here and there, because I wrote lines that were a bit awkward to finger and I didn't spend more than a few attempts at working out the most effective fingerings yet. T-Racks ONE module was used to restore life to the mp3 track, and my breadboarded Circuit One and its latest variation were used to play the guitar parts through into a Fender GT40 modeling amp using Bassman, Bandmaster, and '65 Deluxe Reverb simulations.
Circuit One half-open sound examples
Circuit One half-open sound examplesFinal circuit layout, pot half-open ("gain half way") sound examples. Parker Fly Classic bridge pickup into Fender GT40 modeling amp, out from headphones jack to M-Audio M-Track 2 interface. Bandmaster patch followed by Bassman patch followed by no patch (as in a full range speaker) followed by clean guitar. I used chords to better identify the frequency spread in the Pro Channel equalizer display of Cakewalk, followed by a muted chugging power chord and ending with a Townsend-style ringing final chord to compare the duration that each setting gives to the sustain.
Circuit One max distortion sound examples
Circuit One max distortion sound examplesFinal circuit layout sound examples with pot fully open (distortion maxed) I describe this as my "walls falling in" sound. Parker Fly Classic bridge humbucker into Fender GT40 modeling amp, headphone output into M-Audio M-Track 2. Bandmaster patch followed by Bassman patch followed by no patch (what the distortion sounds like through a full range amp/speaker system) followed by clean guitar example. Chords followed by palm-muted power chord ending with a sustained strum to demonstrate how the settings affect duration of a held note.
flying in a dream like a Chagall painting above Blue Jay Way
flying in a dream like a Chagall painting above Blue Jay WayI've had this arrangement in my head of Zeppelin's "Immigrant Song" done to the rhythm of Jimi Hendrix' "Little Miss Lover" and started out this recording with that in mind but ended up with a Lydian thing that takes me back to Joe Satriani's "Flying In A Blue Dream" and George Harrison/Beatle's "Blue Jay Way." FM bells, synth vox, a bit of funk rhythm guitar, some synth lead accents and arpeggiated sound FX to follow, but this is pretty much the structure of it.
The Rain In Spain (falls mainly in my brain)
The Rain In Spain (falls mainly in my brain)A 2015 original that started with the working title "Little Sahara" (named after a local sand dune area in Utah) and with some lyrics and melody morphed into "She Walked Barefoot Through The Marketplace" and today I decided it was more Moorish than middle-Eastern, so a new title with a nod to late 60s psychedelic sensibilities. The original mix is farther back in my tracks list, and I wanted to add some definition and highs, so I put it through a Blue Tubes plugin in Cakewalk. Sounded good and I then decided to add the vocals finally but noticed I only had an mp3 mixdown for my source. Hey, no problem, I'll just go back to the original master files and remix it down to a wav file. Well, those files were missing the acoustic guitar track and the bongos track, so the mp3 version will have to do for this posting, and still no lead vocals!
Electra Circuit Variations
Electra Circuit VariationsTwo back to back examples of variations I've made to the Electra distortion circuit, an onboard guitar effect from the 70s which is now used as a training template for DIY guitar pedal builders. I wanted to demo the tones and was just going to play some random chords and licks, but wanted a more accurate comparison (and didn't want to futz with re-amping a dry signal out to my breadboard from the computer) so came up with a basic song structure and ran through a dozen attempts until the flubs weren't too distracting! Drum track is from Groove Monkee Blues collection, "Big Leg" through a sample drum kit in Studio Drummer. The first example sounds, live in the room, on the Vox-ish spectrum of tones, while the second example is more Fender-ish, to my ears (Have not had a Super Reverb in years, but reminds me of that, driven hard.) The actual circuit variations are quite minor: a value change on the capacitor linking to the diodes, reducing the diode count from two to one, playing with the diode orientation, and the resistor value from the transistor emitter to ground. Premier Guitar magazine published an article by Joe Gore which you can find online which I used as a self-training guide to first start exploring DIY guitar distortion circuits. There are numerous other sources you can look up, and you can also purchase pre-etched circuit boards that copy famous pedals, or complete DIY kits including the parts.
CloudsGroove Monkee pack fed through my own choice of sounds and arranged to my own taste.
odds are evened
odds are evened3 3 2 'nuff said!
That Boy Can Fly
That Boy Can FlyThe chorus literally came to me in a dream, when I first moved to Utah as a job change during the Great Recession of 2008. I was alone without my family, who followed later in 2009, and was not used to any kind of disruption, so the germ of the lyrics and chorus were there in the actual circumstances of my life. In the dream it was Neil Young's voice, and I was running along a riverbank. As I later fleshed out the song in my waking hours, it seemed more Fogerty/Creedence Clearwater and so there it lies, a child-like vignette balanced between two masters of the child-like and of the vignette!
Five against Four
Five against FourThis motif has been stuck in my head for the better part of a year; tonight I finally committed it to a MIDI arrangement of strings, guitar and drums just to lock it down and free me up from being distracted by it. It tends to find its way as an ending to a couple of different songs that I'm working on, as a transition from 4/4 time to something slightly off-kilter and unsettling. Makes a good outro or jam track. Reminds me of Genesis from the Lamb Lies Down and later albums.
stony path by moonlight
stony path by moonlightA guitar double-stop theme from decades ago that was intended as a background for some noodling lead guitar work but never got off the ground. I started working with it again while out on some Fall colors hikes this year, and found that it made a good "walking tune." I've added some variations on the theme, and orchestrated it for string ensemble and piano. This rough mix is 90 percent of the way to where I want to end up: I need to flesh out the piano background part, and decide which instruments carry which of the various themes, and then add some more dynamics variety, at which point it will be as done as it will ever get!
found objectsSo, how I spent my Saturday morning. You want to hear the story? Sure, you want to hear the story. So, the story is, I was viewing demos for the UA Apollo interface, and the big takeaway was that you use it to tweak and then commit to a sound, which then inspires the performance, rather than go in dry and muck around with that signal afterwards. Which of course got me, in my contrarian nature, trying out the alternative (going in dry and mucking about afterwards) on some drums, in this case, the 75bpm Backbeat Tama batch from the Loop Loft collection Dry Drums Volume 2. Once I got some passable loop combos and had filled out the sound with the Sonar Pro Channel eq and compressor, and then added a reverb bus and tamped it all down with a limiter on the master, I plucked out a few loops from the Sample Magic Electro-House collection that came bundled with Sonar. Found objects, indeed. I'm already working out bass and guitar and synth parts in my head, and tried out the Vocalise loops and found them a good fit, so that's where the jam is headed. As usual, I'm not (too) embarrassed to throw up the bare-bones sketch in the meantime, as a progress marker. Oh, and if you read all of the above and were paying attention, NONE of the music on this sketch is my own, only the arrangement and production. : )
Fear (with J.A.G.) vocals up-front remix
Fear (with J.A.G.) vocals up-front remixAt Stephanie's request, I came back to this demo and tried to get the vocals more up-front in the mix. The trick that worked best was to reduce the echo delay on her lead vocal almost to the point of inaudibility, because once she gets to firing off some of the denser phrases the echo just muddied things up. I also have wanted to add a lower FX vocal (the "fear" refrain) so I doubled her an octave down through slightly different delay parameters. To punch up the music and glue everything together I ended up using BlueTube limiters on lead vocal, backing track, and the output master bus.
a minor distraction
a minor distractionI ran into plug-in problems on a Sonar install and could not work on the song I intended to (Fear with the vocals more up front in the mix) and while trouble-shooting, I opened this track, which I had until then completely forgotten about, and ended up adding some eq, limiting and drum patch tweaks, followed by this mix. A minor distraction indeed! It's a Zappa-esque noodling wah guitar solo over A-minor. I believe the guitar was plugged in from my Roland multi-fx floor unit and probably was done in one take after a few passes, as that is how I typically work on jams. This one dates back to July 2015. I did get the remix of Fear underway, but only from the original laptop install, still have not sorted out the desktop missing plug-in issues.
RagnarokA favorite jam from back in my garage band days. Influenced by BOC, sci fi, video games and Norse mythology. The lyrics evolved into a non-sci fi version in later years with a working title of "Missile Command", long after the band had disbanded, but these are the originals. Recorded in the late 70s at Brothersound studios as part of a weekend demo session. Me on guitar and vocals, Larry Hansen on bass guitar and vocals, Kevin Norton on drums. Words and music copyright 1978 by e.e. chillington, bass and drum parts by Larry Hansen and Kevin Norton, respectively. Staring into space with coal black eyes, the battle is drawing near Nuclear tracers guide me as I unleash into the air Radioactive killer tubes on-target through the aether With a death's-head grin and a "Job well done!" Captain slaps me on the shoulder, sayin' Keep those eyes alert for life on Mars Keep those missiles trained upon the stars Compute your coordinates, all stations fire! Midnight sky at the break of dawn, the saucers are overhead Human race come face to face with extinction in molten lead Our masters have returned at last to claim their ancient home But man will be man and so we fight to the end against our forgotten Lords Keep your eyes alert for life on Mars Keep your missiles trained upon the stars Compute your coordinates, all stations fire!
waiting is so strange
waiting is so strangeFrom a late 70s weekend 8-track demo session, recorded at Brothersound Studios in Southern California with the group Air People. For this track, Larry Hansen on bass and vocals, Miles Pritzkat on keys, me on guitars and Kevin Norton on drums. Music and lyrics copyright held by Larry Hansen.
Rapture (with Hey There) rough mix
Rapture (with Hey There) rough mixSpoken-word reading "Rapture" by Stephanie Carlisi, paired with my backing track "Hey There" in the final of 3 collaboration experiments. A rough mix but close to what I'd like the final product to sound like.
Skin (full length test mix with Reggae In Morocco)
Skin (full length test mix with Reggae In Morocco)Full-length demo collaboration combining spoken word piece "Skin" by Stephanie Carlisi with instrumental track "Reggae In Morocco" by me. Music by e.e. chillington, melody and lyrics by Stephanie Carlisi, copyright 2017
The Craving (She Walked Barefoot Through The Marketplace)
The Craving (She Walked Barefoot Through The Marketplace)Spoken word vocal by Stephanie Carlisi, music by me. The mix has an odd pumping quality when the vocals kick in, my apologies, a work in progress, but close to what I'd like the final product to sound like. Music by e.e. chillington, melody and lyrics by Stephanie Carlisi, copyright 2017 Connect with Steph at stephaniecarlisi.com or on FB at https://www.facebook.com/stephanie.carlisi
Hey There (crispy version)
Hey There (crispy version)Track notes are on the earlier upload; this upload was fed through a Blue Tubes Analog Trackbox, Bass Drum 2 setting with no edits. Brings out the percussion and the attach on the synth bass and as a result changes the vibe of the song a bit. Interesting what a few tweaks to EQ and compression can do.
Hey There (rough mix)
Hey There (rough mix)A friend commented that I would probably be good at rapping, so I started with a lazy rock beat c/o Ryan at The Loop Loft (Dry Drums Volume 1, MelloBack tight Gretsch kit), came up with a "yah yah" chanted chorus, handled here by the wavering synth (Kontact Retro Machines Super JP sync), added a bass line that lays a bit back on the groove, and tossed in some sparse piano to hint at a chord behind the rap sections. As usual, a place-holder scratch mix to let you know what I'm up to, not the finished project by any means.
Pip Cast Away
Pip Cast AwayA short work for string quartet and piano. The original bass motif (chord progression) was a thing I came up with on a very depressed day, and as I fleshed out the harmonies it became even more of a downer (the original working title was S.A.D./Seasonal Affective Disorder!) I shelved it as being the equivalent of a Dementor's kiss, but it kept nagging at me so I revisited and completed it this past weekend while I was off from work with an illness. It struck me that the bass line was very similar to an old sea shanty performed by Burl Ives that I knew from my childhood, "Haul Away, Joe" and so armed with that conceit it morphed into incidental music for a chapter from Moby Dick, chapter 93, "The Castaway", where cabin boy Pip is abandoned on the open sea and left to contemplate his circumstances while waiting to be rescued. The crew determined that he had gone mad while alone adrift, but the author suspects that Pip simply had his mind expanded beyond the petty concerns of daily life on ship. This newer upload corrects a few things from yesterday's rough mix, adding some additional movement in the piano lines, and a remixing of some of the balance between instruments, and a mastering pass to tame some of the violin bits that couldn't be completely ridden down with the mixing faders.
JAG (Just A Groove)
JAG (Just A Groove)Here's the 3rd version, the rough mix is becoming less rough: Incorporates the original rhythm and melody guitar parts; I had left them off the previous 2 uploads until I could edit them a bit. A new Wes-style octave guitar part recorded August 14 to replace a too-busy original guide track during the quiet section early in the song. The vamp sections before and after that are still waiting for a lead part, haven't decided on what instrument I'll use yet. Melody guitar part has been cut until the final section of the song, as planned, where it will be either replaced or doubled with a synth lead, and I'll also add some horns or strings to accent the chords during that section. Just to recap the rest from the earlier uploads, the bass guitar figure was a twist on a fragment from a bass lick on a country song by the group First Aid Kit that stuck in my head after my wife gave it a play on YouTube. Funny how something gets your attention and then you play with it and it morphs into a whole new creation. For the second upload which is part of this version I added a 3-2-3-1 variation to the end of the repeating bass figure on the 16th notes for compositional interest (probably too subtle for most people to notice!) The drum parts are recorded loops from the Acrotight session off The Loop Loft collection Funk Essentials Volume 4.
Meanwhile Somewhere In The Desert Rough Mix April 17 2016
Meanwhile Somewhere In The Desert Rough Mix April 17 2016Updates since the last rough mix: Crunchy guitar to give some drama to the intro. Early period Roger Waters style bass guitar doubling the Moog. Heayocity Vocalise female voices to give things a human face. A different LinnDrum sample kit, along with tweaks to levels, tuning, and compression settings.
Reggae In Morocco rough mix
Reggae In Morocco rough mixFrom February of 2015, 2/3 of a complete song, still waiting for the bass and the guitars. Use if for a jam track for now! Drum programming needs fleshing out, and mix needs some to breathe with some levels movements but hey! Gotta start sharing this stuff instead of leaving it on the hard drive. Work In Progress...
Route 74 Sample Rough Mix
Route 74 Sample Rough MixUsing one of Loop Loft's Complete Tracks, this hearkens back to Booker T and other 60s instrumentals. The placeholder flange guitar and two-string (root and scales) bass will be replaced by more period-suitable final tracks.
she walked barefoot through the marketplace
she walked barefoot through the marketplaceIt all started with a flanger.... then came the vocal lines ... and the arrangement grew from there. Hints of Miles Davis, Thomas Dolby, Joe Satriani, and Blue Oyster Cult, to name the ones I recognize as conscious influences on this Moorish garage-band-meets-New-Age lullabye... "She walked barefoot through the marketplace...naked beneath her burka." The sun glares from a sky too blue to be real; a sky out of a dream, but here you are. She walks barefoot along dusty streets through the market: as proud as a queen, as distant as a star. She casts you a glance that commands you to follow: following is not allowed, but you follow anyhow.
the pursuit youtube mix
the pursuit youtube mixtribal drums, chillin' vibe, background music for that safari drive