Mentioned here: Line 6 DL4, Lexicon Jamman, E-mu Emax, Alesis QSR Module,
TG So let's talk shop. I know that you don't necessarily discuss gear unless you are having a conversation with other musicians.
Lionel That's not totally true. I will discuss gear and technical issues with anyone that really seems interested or willing to listen. What I can't stand is when someone ask a question, but don't really want to hear the answer or is simply not listening, in any case it's just a waste of time...but, I will concede that to them, perhaps I have nothing of interest to say. I find that musicians ask questions about gear because they have a vested interest in the gear or the information I'm about to give them.
TG Okay, with that in mind, the little green box with the silver switches....
Lionel The Line 6, DL4?
TG Yes, how are you utilizing that in your setup?
Lionel Well, I use it in several ways. In my guitar setup, I use it as a primary phrase sampler because it is easy to get to, and I like the different choices of delays that I can get from it. It's right in front of me on the floor, but it has no midi capabilities so as a sampler, what you put in is what you get out. You can't lock it to a time code or beat clock. So, if you are playing with other people you are going to have a problem locking unless what you are doing is right up front in, say, the drummer's monitor. It's great when you're playing by yourself. I use the DL4 however to get some interesting effects besides just delay, and I don't limit it to my guitar work either.
TG Can you give us an example of how you have or would you it?
Lionel A perfect example in the song "Dark As Hell" from the CD "Vent" by PoeticWorkz. All of the vocal processing on the lead voice was done using the DL4. The backward sounds, the pitch shifting and bending, etc., was all from that box.
TG You used the term primary when you referred to loop-sampling, do you use other samplers?
Lionel Yes. In the guitar rack I use a Lexicon Jamman with extended memory. When you are the only cord playing instrumentalist, as I have been, in some of the bands that I 've played with, you can do some neat things with them both.
TG Such as?
Lionel Well, sometimes I lay down some interesting textures, by sampling, then looping a basic chord pattern, which might have the characteristics of a guitar or by using a patch from a synth. I capture this with the Jamman, say from my Alesis QSR module. Once that textural bed is laid, then I use the DL4 to loop a chord progression. I could have easily used the Jamman to also capture the chord progression, but this way I have more control over unique things like volume and independent effects on the fly.
TG Strange for a guitarist, using the jamman I mean. How did you get into that?
Lionel I first got turned on to the Jamman by Harold Sargent, the drummer and one of the producers of "Wood, Brass and Steel." Years ago, Harold was always into messing around with new gear. As a matter of fact, he still is. I was by his studio the other day and he had one of the new groove production stations by E-mu sitting up on the table. Well, I know and he knows that the last thing he needs is more equipment but it's the inquisitive nature he possesses, but, back to what I was saying. Back in the day, we were applying The Jamman to capturing samples off records, looping them and using them for Rap. I soon lost interest in it because I wasn't working with a lot of Rap artist. Then I saw how Doug Wimbish was using it and practically lost my mind. True, I was aware of loop sampling and had read about the ways in which other musicians were utilizing it, but live in concert, on the fly and simply as another effect device, Doug was doing it!
