![]() ![]() He is also a faithful Billy Corgan disciple, who had a similar penchant for stretching his guitar past the 21st fret, employing hundreds of dynamically-distorted layers of fuzzy effects and atmospheric squeals. Mimicked by: Brian Auburt’s heavily fuzzed-out guitarĪuburt is a noise-ologist he is all about tinkering with gear to make sounds that a guitar isn’t really supposed to make. Sound Mimicked: A revving stock-car engine It makes you wonder what his guitar looks like by the end of a recording session like that. Emphasis on the beyond: in the song “Quadrant 4,” from drummer Billy Cobham’s album Spectrum- on which Bolin plays guitar with zero restraint–it is through the wildest scale-melting noodling, and the right combination of effects pedals, that he makes his guitar sound like it’s charging up and blasting laser beams in rapid succession. His playing style was a highly technical, virtuosic one, skirting every line between jazz, prog, metal, and beyond. Bolin, however, didn’t need props or gimmicks to make his guitar emit sounds that Buck Rodgers would be proud of. Steve Stevens, guitarist for Billy Idol, has admitted to being influenced by Bolin (and this song in particular) in his own solo stylings, namely in the song “Rebel Yell,” wherein he plays a toy ray gun through his guitar pick-ups. Mimicked by: Tommy Bolin’s technically-virtuosic guitar playing The groove is as mellow as can be, and a perfect accompaniment to those times you feel like being that thing he mentions after “ joker” and “smoker.” Midnight-something-or-other… 7. You hear it during the first verse section right after Miller purrs the line, “Some people call me Maurrrrrice…” as a sort of way of reaffirming the promiscuous nature of the song, which deals heavy in booze, dope, and sexual mischief. Mimicked by: Steve Miller’s squawky guitar While David Lee Roth makes come-ons to a teacher twice his age, and Eddie shreds and taps away at his red-and-white-striped guitar, Alex taps at his snare as if it had a built-in muffler. Imitating a Harley-Davidson perfectly fits the song’s major themes: rudeness, rebelliousness, and downright sleaziness. Sound Mimicked: An idling Harley-Davidson Or protected a village from a rampant hobgoblin. Listening to the furious solos gives you, if not a headache, the distinct feeling that you just completed a level in Mega Man. Mimicked by: Molly Hatchet-guitars on speedīeing that this band is so steeped in fantasy, role-playing, dragons, swords, and the like, it makes sense that the sound they’d vie for would be something out of an old Sega or Atari game. Sound Mimicked: Retro videogame sound effects ![]() “Through the Fire and Flames” by Dragonforce These examples of instrumental onomatopoeia are ultimately made all the more resonant–and more closely reflective of the multi-facetedness and varying dimensions of reality– by such extra-musical inclusions. Inserting these “meaningless” words into a piece of prose, however, does have the effect of capturing a more-convincing snapshot of reality.īut this doesn’t just work on paper it can also work in music, whereby the original units of music–say, a guitar note or piano chord–can be used to recreate sounds other than the ones originally intended. Examples include buzz, crack, pop, whoosh, etc. In literature, “onomatopoeia” is a word that’s employed to mimic any audible sound not pertaining to any spoken language. ![]()
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