Let us pray: I offer up this music as an act of love and thanksgiving to the Holy Trinity. May it bring souls closer to God. I repent of all acts of pride. All the gifts I have received are from God. They are for God, of God and offered to God from myself, a humble servant for the purpose of honoring his Holy name.
May this music bring you closer to God, as he eagerly awaits for your acceptance of his Love. You are also being called. Amen
Hard to believe this music is nearly 30 years old. Never heard before: 32nd note melodies, slapping and popping guitar interludes, dissonant 2nds, right/left hand innovative harmonics, beyond 32nd note groupings, shred solo jams, legato layers combined with clean articulated picked lines, insane drum and keyboard programming, innovative keyboard shred solo’s, ridiculous and inspiring quartet music, multi-octave pentatonic runs, beautifully inspired chord changes and compositions, original key changes and…tons of fun!
I started recording music while in High School. I worked at a music store where I bought myself a Fostex X-15 4 track recorder where you recorded on a cassette tape. Years later while in Hollywood CA, I upgraded to a Tascam 238 8 track cassette tape recorder. The shifting point that enabled me to write full songs was the purchase of a Roland R-5 drum machine. The drum machine was my rhythm section and included bass guitar- and only took up 2 tracks. That left me 6 tracks for guitar parts. Eventually I learned how to record a sync tone to track 8 that would allow the drums to sync with the Tascam 238. The advantage of this was I could change the drums and bass tracks while writing and recording the song. (I wasn't locked into the initial drum and bass programming I started with, it could change along the way) Plus the drums and bass were now being recorded live during mixdown, so the quality was better. I used this set-up for all my early material including: Finale, The Garden of Eden, Deja Blue/Rubato, Dream State, Vertigo, Afunkadiddle, Declaration (added a Korg X2 keyboard), and many others.
For amps I was using a 1982 Marshall Master Volume 50 watt pushed with an Ibanez Tube Screamer for overdrive. This went directly into a Rocktron Allan Holdsworth Juice Extractor so I could record direct to tape. This was because I lived in an apartment. I didn’t have any studio monitors and did everything on a pair of Sony headphones, which I still have and use to this day. The Juice Extractor went to a dbx compressor, then to an Alesis Quadraverb. That went directly to the Tascam 238. (there is a chance the dbx was last in line for the gate feature, I don’t remember) I would record with effects and modify them if I needed something special. While recording in Vienna Austria, I was able to start recording my amp live with a Shure 57 or 58 microphone. (Vertigo, Dream State Declaration and Prairie Rain) I also purchased a VHT Pittbull Classic (ser. #2) during this time. That or the Marshall is the amp you hear on these recordings.
When I moved back to Minnesota I started recording my debut Shrapnel Records CD “Todd Duane”. Prior to this recording I upgraded to a Tascam DA-88 Digital 8 track recorder. The songs I recorded in Minnesota include: Summersnow, the jams (LilyJam, Slam Flam and Diddely Daddle), and Dandelion Juice.
The jam session songs (Lilyjam, Slam Flam, and Diddely Daddle), were recorded in March of 1995. I jammed over presets from a Yamaha QY-20.
The guitars I owned at the time of these recordings varied throughout the years as well. On the early recordings I used my ‘82 Kramer Pacer that I purchased by bagging groceries when I was in High School. It had a Dimarzio Tone Zone p’up installed in the bridge. I also owned a Fluorescent orange Ibanez RG770. When I moved to Vienna Austria I was using a Hohner Revelation guitar that I personally picked out at the factory. It had some mojo and is out there somewhere, because it was stolen in Minneapolis MN from Music Tech where I was teaching. I used a Hohner Revelation on Vertigo, Dreamstate, Declaration and Prairie Rain. There was also a 28 fret version of the Revelation, and on Scatterbrained and Prairie Rain you can hear this guitar. In about ‘94 I started getting into Country style double stops and string bending. I wanted to find myself a hardtail guitar, and ended up with a ‘72 Fender Telecaster. I renamed that guitar the “Terrorcaster”. I know the current owner of it, but he won’t sell it back to me. That guitar has a fat tone and was used for the Shrapnel debut along side a Steinberger GM4T... I used those two guitars on Dandelion Juice and Summersnow. (Anything with a 24th Fret high E was the Steinberger) My main acoustic guitar was a Japanese made McPhearson cutaway acoustic/electric that I traded another guitar for in around 1984. This is the only guitar of all of these that I still own!
Supercalafragaridiculosous was composed on Finale software sometime after the debut Shrapnel disc in 1996. It was performed by the computer playing the sheet music I wrote through a Kurzweil Micro Piano sound module. (although I didn’t write the song specifically for piano)
The Korg X3 was my keyboard during my Vienna, Austria stay. I developed a sweep style of playing the keyboard for all those solo’s. (because I am not a piano player) I also programmed all the Roland R-5 drum parts and Korg X3 synth/keyboard parts. (including the drum solo on “Vertigo”).
My Electrocution 250 bandmate Lalle Larsson recorded the piano and synth solo’s on Dream State.
I am 100% thankful to God for giving me the talent, gear and opportunity to make and perform music.Thank you for listening to this music, and I hope it ultimately brings you closer to the Lord.
Prairie Rain appears in between “Scatterbrained” and “Vertigo” on a cassette compilation I have. So I have to assume it was recorded during that time. No master tape exists that I could find. I do have the master for Scatterbrained, which was recorded in Vienna in October of 1992. I also remember that I used a Hohner 28 fret guitar on Scatterbrained. And I might have used that guitar on Prairie Rain as well.
Vertigo was recorded in Vienna on June 6, 1993.
Supercalafragaridiculsous was written on Finale notation software with my first computer while I was living in Minneapolis Minnesota. It was a dark period of my life, and I was finding an outlet by composing music on notation rather than recording guitar music. The song wasn’t written specifically for piano. If I could open the midi file (I think it's on a floppy disc), I would like to run it through a string quartet sample. I do have the music notation for this. It was written in late ‘95 or early ‘96.
The Garden of Eden was written and recorded immediately after the song “Finale”. These songs were recorded in an apartment closet in Hollywood California. This song has always been one of my favorites, and it definitely was sent by the Holy Spirit. The song just seemed to write itself! I remember wanting to go to the opposite extreme of “Finale”, which was an extremely fast song. So I chose a slow tempo for this song. The backwards guitar fade in’s were accomplished by turning the cassette master over and recording on the opposite side. That made it play backwards on the normal side. (if that makes sense)
Summersnow was recorded in St. Paul MN. It was during my recording of the Shrapnel “Todd Duane” CD along with the solo piece “Dandelion Juice”.
Dandelion Juice was a solo I wrote utilizing a slap & pop technique I was working on at the time.
Deja Blue (also accidentally called Deja Vu) is the prelude to a short guitar solo called Rubato.
The definition of ruboto is:
the temporary disregarding of strict tempo to allow an expressive quickening or slackening, usually without altering the overall pace.
Harmonic Jive is an interesting song that utilizes a “sustaining seconds technique” I was using at the time. Somewhere along the way the song's conclusion got lost, so the ending is a bit abrupt.
The song Declaration was meant to simulate my trade-off playing with Lalle Larson, who had moved away from Vienna and was living back in Sweden. I came up with a sweep style of keyboard playing that allowed me to record those solo’s (and break a key in the process!) For the jazzy solo section part I wrote the solo out in advance so I could get a tight duet sound.
Afunkadiddle and Finale were originally recorded in my closet studio in Hollywood CA during late 1991. They appeared on a compilation disc series called Guitar on the Edge.
Go to my TD Blog page if you have any questions. Or email me thru the contact page.