Interview for www.guitars.ru (2000)
2000. Moscow. Autumn. Sunday. Evening, gently rolling in the night. We (Alexander and Sergey Avduevskii Tynku) sitting in the visiting Dmitry Chetvergova, drinking tea and talking about guitars.
Sergei Tynku: Well, my first question is quite a traditional. How did you come to gitareN How it all nachalosN
: In general, as probably most of the musicians all started with yard guitar. But it helped that I already had a good musical experience, because before that time to finish a music school in piano.
Sergei Tynku: Under prinuzhdeniemN
: Of course, there. I wanted to play myself. All this happened in early childhood (I was very young, years 3-4). Later, my grandmother said that when we played the radio, I sat down beside him and kayfoval under any type of radio station "Mayak". Then the grandmother told her mother that her son would probably be a musician. I was right.
When I was 7 or 8 years old, I told my mother: "Get me a piano. I want to play the piano ". But the existence of the guitar, then I just did not know. I listened to piano music. I thought that when you are a piano, I sit down (never having played keyboards before), and will play right away (I even have imagined a keyboard). It was not there. When I first sat down at the piano, was a terrible disappointment. Before that, when the piano brought into the house, I went for porters, taschivshimi it was and just wanted "when the lid opens and I start to play. Failed. Of course there were tears. And then I began to study "from under the sticks".
Sergei Tynku: And there was a transition to gitareN Who of artists influenced this shagN
: Of course, Beatles. As I recall, then there were these bending plate. The magazine was such a "horizon" in my opinion, where the flexible printed plate. And the first thing I remember, "When I'm 64" (song Beatles'67 - prim.stnk). And then off they'd go. Then the "White Album", of course, that was just dropped in on a home player. And then we all went in a row - Demis Rousis, Rolling Stones ... Further more serious music went - Yes. But of course began with the Beatles.
And my first serious hobby, it is a rock guitar ... I felt better and thought that I can.. - It was Blackmore. And remember, one person (my first house serf teacher) he tried to remove "Lazy" (song Deep Purple'72 - prim.stnk) and he does not manage. I felt that I could do it. I came home and from memory (I did not have this record) withdrew. And then came and played him and his jaw just dropped. He was my teacher. And by the way I tried to play the bass guitar. At first I did not play the guitar.
Alexander Avduevskii: And why vdrugN Usually the guitar can be alone and play music, and bass instruments are still to play kollektiveN
: Well, it went under duress. Some school band and guitarist vacancy it was occupied. Was a vacancy keyboardist and bassist. That had to be a bass.
But the way it helped me in many ways. Because then behold these youthful enthusiasm bass guitar, it has helped me in chemN When we wrote the disc "Nick" with Noskov in Germany (we had a team) guys confused. And everything started with the bass. A man can not play at the studio. Day. Day. Then director of sound is said: "Yes ... guys, you certainly need a bassist, frankly, harder ". And we went home. Kolya (Noskov) said: "Well Th Dim, psihani and write myself a bass guitar". And I began to write and wrote himself, the whole album.
Well, actually, and now it helps me. Here's my Jazz Bass. (takes out and shows the bass guitar Fender - prim.stnk).
In principle, it really helped me - the knowledge of keys and knowledge bass.
Sergei Tynku: Listen but many believe the bass guitar is not very serious instrument in the sense that a guitarist can always play the bass, and bass guitar, alas..
: There is a saying that a good bass player - is a failed guitarist.
Sergei Tynku: Yes. There is also an example. Jimmy Page played bass easily in the Yardbirds. Or take Paul McCartney, who just took a stroke and went to bass.
: Well, in principle, then. Because bass is practically the same, only slightly different skills finger.
Sergei Tynku: And that's part myshleniyaN Is there a difference between a guitarist and basistomN
: I think that there. Well, in principle, what all the party basaN If we are pushed away from the melody, making her an arrangement, the bass is a counterpoint to the main melody. But he emphasizes harmony and therefore can not be free. The basis of his basic. That is a bass playing basic notes of harmony, but it is the support of basic voice ringtones. It can be depending on a variety of thinking.
Sergei Tynku: But closer to the melody or to garmoniiN
: He is and harmonic and melodic functions simultaneously. Everything depends on thinking bass guitarist. To not just play notes or fourth-eighths on the main harmonies, and to conduct some sort of line, in principle, is the bass counterpoint to the main melody.
In principle, when you do an arrangement, very much depends on what the melody and harmony which. Often enough to play the melody, and then be where to put the rhythm, but where bass. Or you may first bass guitar. A lot happens Technology. But I think people should first lay down a bass, and then introduce the guitar.
Sergei Tynku: Even before udarnymiN
: Well, yes. First comes the bass. Then under the bass drum is written. And then the whole picture of the drum.
Alexander Avduevskii: I had an experience when I practiced with MIDI and came to the conclusion that the first best record everything, and only then in the remaining holes cram drums.
: A lot of technology. Well you can, and so, as you can, and in another. When you first finds what is drawing a loop and then everything else organize under this image.
Generally, all with regard to modern arrangements requires a very flexible approach. Since there are so many new sounds that simply can not get along with each other. All these modern libraries.
Sergei Tynku: I guess all this is true for guitar sound. Since the current pedals and processors can issue such an unusual combination if desired.
: Absolutely. I here listening reviewed the latest album Satriani. He was there at all these innovative ideas throws. He is not shy about such a sound, in my concept of "student", a ragged, ragged guitar sound. He does not have that signature sound on the record. He is experimenting with a new guitar sound, which is closer to such contemporary punk. These dirty guitars, but not distorshenovye and fuzovo Drive figurative. There is, you probably know, when you play with the attack "ji-ji-ji, but there is something unintelligible" fu-fu-fu "(neaktsentirovannoe - note. stnk). It breaks down and is always very difficult to play. He uses this sound. And quite actively. That sounds pretty difficult to play when you do not distract. And he uses it and sees as a fairly modern chip.
Sergei Tynku: Going back to your years "yard guitar". What you then igralN BeatlesN
: Well, first Beatles could not fall asleep. Ibid chords. And how do you vozmesh chords, even if you have not filled blisters on fingers. That is the first time had to fill blisters on the three thieves chords. And only then, if something happened, then you begin to analyze. I knew by then that such a tonic and subdominant.
But when I started in earnest guitar ... I went back to music school. So I finished music school and still on guitar (classical). That is, as a result I had knowledge and on the piano and classical guitar. And when it all make sense, it becomes very much clear. That is, to 17 years, I realized that I know your instrument.
It is now possible to go to collect notes, videoshkol etc.. But then none of this was. Information was no. Voice of America once somewhere to hear or vinyl records.
Sergei Tynku: Good. That you are 17 years old. You finished music school. What was dalsheN
: After that, everything was very serious. Because it was the army. I went to the army.
After the army soon fell into a professional ensemble, Tyumen Oblast Philharmonic "Crew". It was in the area in 1982.
Sergei Tynku: What igraliN
: Oh ... Soviet music played
. Sergei Tynku: And some seen in the west vliyanieN scoop some foreign music, drives N
. Dmitry Thursday
: The first major such group that pushed me a little bit away from such a rapid rock - this is Toto, the song "Rozena, guitar solo from there - this is the first solo, which is filmed, studied, analyzed in the present
. And before that was already passed stage - music like Deep Purple.
Sergei Tynku: That is classic rock has been covered before.. Led Zeppelin, Black Sabath..
: Yes.. sure.. Led Zeppelin, Black Sabath, Sweet, of course, Slade, Nazareth, Alice Cooper, Pink Floyd - well, everything in general, all that was.
Sergei Tynku: Hendrix..
: Yes of course. But it was realized later. And not even comprehended and understood.. In the sense that when there is "baggage" can be made on the basis of this "baggage" as it were, get rid of the fingers and the head, that is when you already play some emotions on the basis of their "luggage". Then it becomes clear Hendrix.
He very modern. He is timeless. Always modernistic. For me, Hendrix very complex phenomenon. I think he is unbeatable on Expression, the emotions, the craze for some rockers.
Sergei Tynku: a SlashN
: Well, this is a matter of taste. To what pleases. Slash I'm not so fond of, and may be not so much because of this he listened. I can not say anything. I like the style of Angus Young.
Alexander Avduevskii: Angus - Wow. The only person who creates the impression of a guitar hero at the expense of only one simple pentatonic. But while he has a very disciplined game is technically.
: Sometimes I do not like his moves when "nestroevich" (upset Guitar - note. stnk). Although Hendrix there, too, sometimes "nestroevicha" enough, the more he enjoyed the active rocking chair (arm vibrato bridge - note. stnk). And then you hear that the good and the expression of byvet with such "nestroevich".
Here's a Satriani too often, this expression is, but he has always been an ideal system. He's another can not.
Sergei Tynku: Good. We continue to talk about your background. Here, Tyumen Philharmonic. Where have you gone dalsheN
: After the Tyumen Philharmonic ...
Alexander Avduevskii: Well, it was the same desire probably something of his own play.
: Well, ever. This desire to present and writing something. Maybe even since that time some thought, and remained in this album ( "Free Flight" - note. stnk), the first which I recorded.
This abom something can be called "the first and last", because it's the music I was playing for himself. Honestly I can say - many of the songs, now when I am by looking at them, they are forced to empathize with and they very much something of its. I just take out all of it himself and make it listen.
Sergei Tynku: You know. I've just listened to your album for the first time. I really liked the name and it accurately reflects the mood of the album. Because the impression was that people spent a long time in captivity and then again and then broke away to freedom and said that he wants to say. Because it was known that you are very much written in the studios of commercial matters for our pop and for a long time could not play exactly what you want, not what was required of you under the concrete work. That is, these are my personal impressions.
: So it has. Broke free. This is absolutely correct. In a way this album is the only. Because it is a lot of thoughts that soprovazhdali all my creative work. That is a long time to be with me.
This disk contains only a portion of the material. After the material is constantly accumulates and accumulates. I have to strictly limit.
Frankly I would like all the same today to a wider audience to play. But do not mean pop. After all, if we take the same Satriani. We are not able to write every year. And then there is no doubt meaningless because they do not reach this music to the listeners we.
Sergei Tynku: In many ways, perhaps it is composed of over terms of distribution. After all, in Russia, guitar music is not being dealt. It is in terms of producing alternative. Propaganda guitar music. That is, no people who invest in this money.
: Exactly. I think now it is easier to do everything myself.
And in general, to motivate their music, I think you simply find a middle ground between what is available mass audience and their thoughts.
Sergei Tynku: Maybe if there is a sense covers poigratN
: Well, can not cover songs, and maybe something like songs. I'm still writing songs and.
Sergei Tynku: That is the arrangement with vokalomN
: No. I just made a few songs so. For people who asked them to write songs. I tried and I liked it. And I want to now try to write to the example of 10 songs for himself.
Sergei Tynku: And it will be your solo albomN
: Yes. My solo album.
There was also this idea. Take today's composers, songwriters. And to make arrangement for guitar. But of course to select the songs and not everything.
Sergei Tynku: You're listening to the last album Jeff BeckN I think sometimes he slips such moments.
: I now have his album "Who Else". So there is one song "Angel". It just kills me. This is music in general ... And do not say that this is a guitarist of some kind.. It's just Muzykantische ...
In general, today for me, "number one" in guitar music, Satriani is. He plays all. And very different. In any style.
Although I first heard as played by Vai. It is a distant 80th, when he played in the group "Alcatrazz". I was very impressed with the game Vai. But then when I heard Satriani, then I just fell in love with his music. He is strongest. But this is my personal sympathy. And compare guitarists do not want to. Everyone is unmatched in its. I like everything.
Alexander Avduevskii: But guitarists playing in the song konteksteN
: Well Gary Moore is inserted.
Sergei Tynku: A not guitar music from what you simpatizirueshN
: Not of guitar music I very much to listen. James Brown, for example.. But this is not a landmark, but simply to listen to the mood. It's a team Zap-Zap.
Sergei Tynku: Red Hot Chili PeppersN
: happy. Also now, "Rage Against The Machine", which for me today is one of the most advanced modern teams.
Alexander Avduevskii: Interesting guys. Not that they liked me. But what Morello get up with the sound, sound effects - it is very instructive. Vocalist infuriates them and the music is annoying, but now finds Morello priceless.
: Morello course п+яLпTпЁп¦п+п+я-п¦. I totally agree here.
Sergei Tynku: And here is a classic something slushaeshN
: You know, there. Especially do not listen. Absolutely. This happens very rarely any mood. I just love to play himself, played some moments. I am a former pianist and can sometimes play. And so to listen ... And time is frankly not enough. And emotions do not have enough. Quickly tires. Although of course need to have classical music home. To recharge.
And so you start to analyze and think, here would have it, but here that's something to beat on another. And then you think - well, this is classic. It inviolable.
While it may be this is the zest that it. Take the classic and to alter it, hack at their. Moreover, something can and remove the computer.
Sergei Tynku: Even in rap, playing classical stuff..
: Well, they are taking some lumps. And I mean full track.
But in general I want to of course for the time which falls to express themselves and work on writing, do it with their music. After so many thoughts and ideas. I'm not saying that all this is my kind of genius. But just want to express themselves in music.
Sergei Tynku: And here is where the ideas come, you like their fiksirueshN record or even chegoN I'm looking at you porto-studio.
: Of course I take it. And often for the beginning, that quickly, just a Dictaphone. Then with a voice recorder any tune on the tape is overwritten. Because if you hear something, we should immediately grab him and write. Yet gone the mood and feeling. And something else then you can not catch.
Very often all in the mood. And if you are not nasvistel not sang, not nastuchat not recorded somewhere, then all this then flew. Sometimes you sit down for the tool and all goes well, everything is great. But you are not recorded. And then play it. It seems to be the same. But the mood that has been in the works of the time lost. I do not understand and do not feel.
Alexander Avduevskii: Yes. Perhaps you remember that played so and so something that was lying on his belly and legs put on the table, etc..
: Of course the mood depends very much on. And including the pose, etc..
Here for example, "chin" guitarists, "inkubatorskie" guitarists who play sitting ghoul in the neck. They are in my opinion is completely different supply. Here you try to get up and you first become inconvenient, and also you'll be standing up to play awkward.
There is of course the people who sit more comfortable. But I when I sit, it seems that you're all trapped and not free. But you're basically not playing for himself. And for the public. I think this is a great mistake - to sit at home, write and do not make. Because then what you do no one will know, no one will see. Why then do it all. For myself, that I own. Write to the table.
There are guitarists. They sit for months, years playing at home. To then maybe two or three times to speak somewhere and speak badly. As a musician who does everything in inkubatorskih conditions (ie, not on stage), they also look at the pathetic scene. It looks bad and there is no filing.
Here you close your eyes and hear that some scrap goes, Freaky music, and open your eyes and look at the scene - and there's nothing. Can not be.
I've attended the competition of guitarists who performed May Lian. He called me on the jury. The competition took place in the club "Yu-Tu". There, that's exact same story. There's only one kid (Tsygankov), which is more or less played. He is really good on stage. I think he has a good future.
Sergei Tynku: So if you are engaged in music we must necessarily vystupatN
: Yes. If you seriously took up music. Must be prepared to speak on stage. Otherwise, the meaning is lost. You clamped. And there is no exchange. You're sitting a "chin" guitar on a chair.
Sergei Tynku: Let's go back all the same to your background. After the Tyumen Philharmonic as I understand it was a group "Quadro". How do you feel about that period of his work and that you made it stay in this kollektiveN
: "Quad" for me is a school, a good, professional school.
After all, if I had stayed at that level, at the Tyumen Oblast Philharmonic, playing in an ensemble of "The Crew", I do not think there would be some incentive to grow further and would not know how it all came together on. Much of course depends on the musician himself.
But all the same, "Quadro" - this is my first serious band. This media attention and bring to you attention to the musical public. Because in 1986, "Moskovsky Komsomolets" conducted surveys for the year and I had already entered the top five.
Sergei Tynku: And then as I understand it, when you started working at the "Quadro" You are being invited somewhere recorded as a sessional muzykantaN
: Yes, already had some certain records.
Actually, I think that in general, while a beneficial effect on me. I also learned it is not so in a musical university. While these were the years 1985-1984, I studied at the Institute of Culture of specialization "Head Orchestra of Folk Instruments".
Sergei Tynku: A zachemN
: Well received education. At the time, always for work and generally needed a piece of paper. Diploma. It was the Soviet times and nobody did not know how things will come. In principle, and for self-education is also needed. I think that is normal. I received a secondary music education and passing the highest humanitarian. And this is my principle in life, except for scientific communism and the history of our own party, all the rest in handy.
So, everything that was done - it is the better. Although of course, in many ways, again listed items taken away from me a lot of time, energy, health and energy. And yet during this time could play music.
Alexander Avduevskii: Actually, many finished the Institute of Culture. Bogdan Titomir in my.
Sergei Tynku: Okay. Let's talk about leaving the "Quad" N
: "Quadro". The first two years of work in this team - in my opinion it's still an apprenticeship. And then it all came together. I became more independent and left the band in 1987.
I met Sergei Katya, bass guitarist Arsenal and we have done with a group of "Dune".
Alexander and Sergey Avduevskii Tynku (surprised): DyunaN "Country Limonite" N
: This was then. "Country lemons - all those who remained left after the" live "musicians. There remained, led by our director Victor Rybin. He was our director. Sergey Katin wrote here this song "Country of lemons, and before that were completely different songs, and other musicians. We had a normal team, which worked fine.
Sergei Tynku: What stileN
: Well, in style, roughly speaking, the "Araks". That is, we played this art-rock and worked in the Moscow Oblast Philharmonic. And then we all went live musicians. And then the guys who work with us as technicians, took the stage with guitars to the sound recording, which made Sergey Katin ( "Country Lemon). They went out and gave the show. It was just 1987 1988gody heyday "plywood". Across the country, "Mirages" traveled, "Tender May", etc.. Paradise pop. Money is very large.
Alexander Avduevskii: Katin And now I think in ParizheN
: I do not know, has long had no contact with Sergey. Talented musician. And as a composer. And he wrote the texts. Very valuable quality. I think it is worthy songs.
Generally, the pop-music attitude has long been changed. Because, in fact, live and beat his fist in the chest that say "I am a rock musician," I will walk in rags and live in an unknown place to shoot some shacks - is unworthy.
Sergei Tynku: That is, perhaps, we should try to combine commercial work to make money with non-profit creative projects.
: Well, how. In the west, won the musicians do the same from the collaboration with pop tragedy. (Slash and Van Halen were written with Michael Jackson - Notes. stnk)
Sergei Tynku: Listen but do in our many rock musicians now capable enough to play badly, without lazhiN Because I'm at concerts very often hear very defective execution.
: I can think of, but do not want to divulge, a lot of specific people, including known, who came to the studio to write basic things, well, there is roughly "untsa-untsa" ... And by. Just past.. Irregularly, unmusical ...
Sergei Tynku: But as it is considered that the services of session musicians enjoyed exclusively by pop. A rock band, live band, write everything yourself.
: Well, actually rockers often use the services of session musicians. Especially drummers. For example, the work Shatunovskaya (meaning that the drummer as a studio musician has recorded countless albums for other drummers - note. stnk).
Sergei Tynku: A gitaristyN
: The same. For example, my work.
Sergei Tynku: You jot down albums and even rokeramN
Sergei Tynku: That is the problem of inability to play - it is a disease not only pop, but the phenomenon povalnoeN
Alexander Avduevskii: How and inability to work in studiiN
: This is a separate issue. That sometimes listen command. Live, playing - everything is normal. And invite to the studio - they come and not play.
Sergei Tynku: That is the stage and the studio - these are two different stories.
: Yes, that's another story. It begins nervous trembling, the fear of the recorder, nekomfortost, lack of control of certain.
Sergei Tynku: A studio musician - this is some innate qualities or all of this over the years can be purchased N
: It's all complete garbage. I think there is no difference no, that studio, that concert. It all depends on the musician. There is no musician, came to the studio, did not play. It's just a weak musician. That weak musician.
Sergei Tynku: That is not a weak man but as muzykantN
: Exactly. Because, first, the musicians "live" (which hit his fist in the chest) in the heat of play, jump, stagger, were not included - no one hears. The concert frenzy going. And because the whole messy business goes unnoticed.
Sergei Tynku: Well, yes, the concert can be sensitive and slazhat, few people will hear.
: Yes. But the studio you're naked. And all your skills and all your knowledge as a musician, you can depict. Well, let you not just one form, the two are not in the form of, well, then the third time show.
And then it turns out that you're just weak. You are unworthy of even a musician called. This is exactly.
Many people say to me: "Here, you occupy all day, but I can not sit there a kicks". How not to kayfN Yes, you turn on a drum machine. I play and record yourself. For example, porto-studio stands. Write. And every day. It's very interesting to write themselves, to listen, analyze, repeat. Musician. You must do this. This daily work, it is desirable.
Sergei Tynku: That is the studio for your own house, because you're home So every day you make.
: Yes, certainly.
Alexander Avduevskii: Of course, it helps. I know for myself, I noticed that there is some internal rhythm. For example, you play and it seems that you play well and you play and seemingly all the same.
: Yes, it happens, that you listen to when the record ...
Alexander Avduevskii: And listen, there is confusion begins, and in fact played a supposedly well.
: Yes, that's what I say.
Alexander Avduevskii: Well, not that kind of messy, when you play something for themselves technically difficult..
: This lack of control. I do the same thing happens. I think that everything is going in the kicks, but I say "Why are you persecuting toN". I say "You yourself are persecuting, let's listen". Listen. Yes, drove.
Sergei Tynku: That is, if a person fails to write in the studio, he just needs to be addressed more.
: Yes. Doing need more. Self.
Alexander Avduevskii: recording-listen. Moreover, Laje tend to be systematic.
: Yes. That you are absolutely correct to say. Systematic. Pens, delays - they are systematic.
Alexander Avduevskii: Three times listened to and then say that here in this place I slazhal.
: Yes. In this I fully agree with you. One and the same place and listened to and analyzed over it was then run. Turn on the metronome, drum machine and forward.
Studio musician, a concert musician - all this talk, nonsense.
Sergei Tynku: That is the case or just a musician..
: Either shoumen. And on the record all audible. There are teams that play biting, with all good. And the studio invited other musicians. It's a disease such. There simply shoumeny.
Sergei Tynku: And on the west kakN There are other, perhaps, or too well - there are musicians and there shoumenyN
: There are many examples where the studio and the concert of a group there are different musicians. Basically, it concerns the drummers.
Sergei Tynku: In general, emerging as the work of the session muzykantaN a plan, grafikN Do you have any direktorN How come unto thee orders rabotuN Or, as we have in Russia ties.
: Do not even on the links. All this is happening here is how. (pointing at the phone - note. stnk). Phone. You're bound to him. It is your job. You went somewhere, you lost my job. Because you do not find it and have someone else. Although if they really need, then they and you impatiently. And if something is urgent it will play another
. Sergei Tynku: Many in Russia guitarists who make a similar obrazomN Or at least in MoskveN There liN
. Alexander Avduevskii: Or conversely, you communicate with, and often there are situations when you have to talk to a colleague such as "Old man, I'm leaving here, worked for me"
: Here and there. I have someone to offer my colleagues and me the same offer.
Sergei Tynku: That is, in principle, there are few gitaristovN
: Well, a sufficient number. And now they have become more. A lot of musicians have come from other cities and engaged in frank shtrehbrekerstvom - write for a very small amount of money. This naturally wary.
Sergei Tynku: A level of these muzykantovN
: The level of different. Moreover, many customers do not understand the work that good, bad. Typically invite musicians, and they let the dust in the eyes, are unprofessional, but it sounds as if somehow. Especially since such recording technology and computer technology. There is such a bike, "Well Play something ka-ka gammku me, and I then slices for a solo notes".
Sergei Tynku: And abroad you had any suggestions, options rabotyN
: There were. When we went with Noskov (a member of "Nicole" - note. stnk). And work in the studio. But seriously it is not discussed. And here a lot of work. And so it was possible and there is also work.
Alexander Avduevskii: Did not you yourself promote their music as something to zapadN
: Well, I'm in this regard is not lifting. Do not know how to hang.
Sergei Tynku: So you're not a manager, musician.
: No I'm not the manager. I can not so. I can be energetic in music. And in life like that I do I can not submit a.
Here's my album, when the "Soyuz" was released, I bought some of. And now, give away, did not sell anything. (presented on CD and each of the two of us - note. stnk). So from me a very bad businessman.
But in general should certainly have a man who was walking to and thrust thee. In this regard, I had no luck and all that was done by itself and had nowhere to run.
Sergei Tynku: Okay. Let's finally talk about your guitar. What you igraeshN What do you estN How did your addiction in this planeN
: Now here I am convinced that the most important course in the guitarist is not his guitar, though certainly a good tool also means a lot. You can have a good tool and not a player, you can and having a pupillary tool, roughly speaking Lead Star (issued in the 80th in the GDR is very common with the USSR Guitar - note. stnk), quite a decent sort stratocaster - a cup guitar guitarist.
I have not developed a tool. I had no proprietary tools. I 10 years ago to do what he did Instruments.
Sergei Tynku: So you all very delalN painted, hammered ways, anchor thrust, grinds, and corps t.d.N
: I had one such moment. Somewhere in 1989, probably after the group "Courage," I am very seriously engaged in the manufacture of tools. I thought this is what I need to do is bring me some income. Of course, I was wrong. We had all atki music deal. But I do not regret. It was a very serious interesting work, coupled with the connection of very many different professions. And the carpenter, cabinetmaker, fitter, turner, plumber, designer, designer, painter, etc.. And it was quite a lot of tools that I have made myself.
But then, I started only assembly. One man made the case, another vulture, and I collected. About 50 guitars were made. Miscellaneous. There have been more successful and less successful. One of them I've been playing so far. Now I sent him to the firm of Russton ". There is a firm.
Sergei Tynku: Here I am now looking at his picture - his penetrating neck.
Alexander Avduevskii: For the DIY enthusiasts as it were not the easiest option.
: Yes. It is difficult to manufacture tool.
Sergei Tynku: And how much he now letN
: Well, the order of 15. I gave it to the restoration. There's a lot of. Okay, for example. And now there is a single (in the neck) and hambeker (at bridge), I will change hambeker on single. Will be only two singles. Sinly will storey (vertical hambeker - note. stnk) Seymour Duncan. Coils, one above the other. Forgot a model called. On one rail. For me it is the most successful pickup. He makes no interference. It sounds correctly.
Sergei Tynku: As I understand this guitar to work with front-loaded.
:: No, it sounds and pure sound. It sounds correctly.
Sergei Tynku: A tone knob and you no it is not only the volume polzueshsyaN.
: timbre is not. Practically, I have not used them. As practice shows, this pen does not need.
Sergei Tynku: But she has so many modes. As many as 29. You play tamN
: Sometimes crawl. But there certainly is not effectively play. I think there is of course just a trick. And Washburn is a company which makes such a model tool. That is a copy of the Washburn. Machine on this guitar is the author's.. My author's model. (apparently something between a Floyd Rose and Steinberger - note. stnk).
Sergei Tynku: But you kofr couple in the corner - they are very similar to "gibsonovskie".
: And this is Chet Atkins (two acoustic guitars with solid housing - note. stnk) - one with steel strings, the other with nylon.
Sergei Tynku: Actually, I look at you a lot of guitars (Ibanez, Jackson, two Gibson, Ovation, Alvarez, Fender Bass, couple outbred gitarok - note. stnk)
: Yes. It is possible to use different tools. As they say, welfare increases. But most of all to me today like Jackson (by type something like JR-2, . two horns on the shell, . maple neck with Rosewood naklalkoy, . Floyd Rose, . hambeker and two singles, . body is covered with a maple top, . made in the U.S., . stands raoyne $ 2000 - approx,
. stnk). But unfortunately it has only 21 fret and I use it in the studio just as the concert play on Ibanez JEM (model JEM7V, luxurious white nominal instrument Steve Vai - prim.stnk).
While in principle I am playing his instrument, but now he has to restore I am very used to the Ibanez, and probably will have to play is. I like this one. It is a versatile tool, you can get and the Stratocaster and Les Paul.
Sergei Tynku: What do you think about the Stratocaster and Les PaulN
: I think this is very good tools. Live classical instruments. But as practice shows, it is better to have a few tools and preferably assistant, who will customize these instruments (guitar techniques - note. stnk)
Sergei Tynku: Well, you still seem to be no Stratocaster and Les PaulN You do not want, or simply have not slozhilosN
: Well, I am pleased. Just a good strata - it is normal money, in principle,. And take something bad would not like. But to have such tools would be.
Sergei Tynku: Here you have a few acoustics, and they are all different. Could you tell what each of them.
: Well, Gibson Chet Atkins - is mainly concerned with cases where there is no possibility to write with a microphone, I turn the guitar directly. Or directly at the concert and no zavodok. While this Chet Atkins a little plastic rings in control.
That is, everything on the fire incident, when there is no possibility for the studio to write with a normal microphone, the normal compressor, the normal processing of sound. And there are times when just need to get a little plastic playing. I play a lot of these guitars at concerts.
But Ovation Acoustics. She is also a concert instrument, and can very well be directly prescribed to.
But my most favorite acoustic - this Alvarez. It was originally sensors, I'll put piezosensor Fishman. It is in the vicinity of $ 1000. Made in Korea, but in spite of that sounds very good.
Sergei Tynku: Listen but acoustics like Martin, Taylor. Have you tried ihN
: Yes. I tried. This is a very good guitar but very expensive.
Sergei Tynku: And what is electric type ESP, PRS.. How they tebeN
: To feel and understand the tool, you should try it more than a day or two. Although would need a week to have to live with him or better than two. And preferably every day. And only then can you make an opinion about this guitar.
For example, here's the tool I have about three years (pointing to Ibanez). And he spent all these years I have. And then hung in the store, I tried to sell it and thank God did not sell. And thank God. And then somehow, quite unexpectedly, I felt that this is a very good tool, my tool
. Sergei Tynku: And do you have in your guitars there is a chip which you are searching for a lot and have not found yet, some may sustain or attack or some shade or even chegoN
. Dmitry Thursday
: I guess I was his instrument has not yet found and need more experimentation
. But I think it's still such a configuration - two hambekera and one single, Floyd Rose and 24 frets.
The main requirement for the instrument - is its versatility.
These words came to an end one and half hours Freewheel in our DVR. And we have to talk about the music switched to the music. Dmitry showed us his computer studio and included some notes for future songs. It was very interesting and we are very grateful to this talented musician, because he found the time to talk with us and sincerely shared his experience. Course in one and let the big interview to talk about absolutely everything that interests us is simply impossible, although we tried to raise as many questions. And therefore, we will meet with Dimitri still continue our conversation about the eternal and beautiful. Course DMITRY THURSDAY interview for Music Box (1997) DISCOGRAPHY