dream & vapour

You're not too far off base. Alex is widely revered for his advanced facial recognition/name recall capabilities. You've likely seen him at concerts pointing out people in the crowd to Geddy: "There's Andy from the Hold Your Fire show in Dayton! And, hey, there's Big Jim from the Caress of Steel show in Fort Wayne!"

It's hard to believe it has already been eight years since Luongo last played for the Canucks (2014). The time, she flies.

Perhaps these are connected points in a conversation (interpersonal & reflexive) or a philosophical internal dialogue (intrapersonal & self-reflective). "Ah, yes. I see your point. Hmmm, yes." Or perhaps it depicts moments of numinous awe while contemplating those bonfire lights reflecting in the lake of sky. Okay, that last sentence was a wee bit silly. Interpretations will vary. The artistic license of the listener at play.

John passed away--believe it or not--twenty years ago today. Tempus fugit!

Make this your ringtone. It's a moral imperative: https://looptube.io/?videoId=poPCStBHfmI&start=78.31858407079656&end=81.41592920353987&rate=1

As Rick chose both a song from Sting and also the Police, I was rather surprised he didn't highlight this example which usually comes to my mind when the odd time signature subject arises (it's always good for a 'Try to count this one out' challenge): (It's in 9/8)

Touch and Go! A great song, and a great one to pick for this topic. Not only does it feature an odd time signature (5/4), but also polymeter. At points, the rhythm section plays in 5/4, while the guitar and keys play in 4/4 atop that. So funky and cool. Any fan of Alex Lifeson would surely appreciate those two shimmering chords Elliot Easton plays (for instance, at the 2:00 mark). Those suckers took me a few minutes to figure out properly.

Simply because they've lost ten in a row doesn't necessarily mean the team su- . . . well, maybe you've got a valid point, there. The Cubbies are trying to recapture that pre-Theo non-magic.

Further thoughts on adding resistors to your Hentor project circuitry: Fralin Pickups posted a nifty illustration which may offer some illumination on wiring a resistor so that it sees 250k (scroll down to 'FAKING OUT YOUR SINGLE COILS WITH RESISTORS'): https://www.fralinpickups.com/2018/10/17/using-resistors-in-guitars-101/ The illustration depicts a Tele, with a humbucker in the neck position, so it's reverse that of a Sportscaster. But it does nicely show where to install a 470kOhm resistor. (The illustration shows 500k, but it'd really be a 470k, which is the standard). As mentioned above by Freddy himself, the pickup selector switch is configured: bridge (down position); middle/neck (middle position); neck (up position). So, if you soldered a resistor for both neck and middle single coils (i.e., one for each), they'd sound a bit darker with the toggle in the middle position, as both resistors would be acting in the circuit (which could be compensated by using a lower resistance capacitor on the middle pickup--or simply not installing a resistor on the middle pickup--as it is always used in conjunction with the neck pickup, if one uses the aforementioned switch configuration). I see Fralin offers 500k resistors on their site. You can readily acquire them via Mouser, or any number of sources. Back in the day, you could visit your local Radio Shack for these. If you do install resistors, avoid those made of ceramic, as they're less robust. Go for carbon film resistors. You could even use metal film resistors, but carbon is sufficient.

Yes, that's the Hentor diagram. Yes, 500k volume and tone pots. .033uF tone capacitor (but your discretion, obviously) If you wished to add resistors to the single coils, I believe you could add them at the middle and neck connectors of the 3-way toggle. So, you'd have the leads from the single coils soldered to the middle connector, and the neck connector. Then, you would also have an adjacent resistor soldered to the middle connector (on the 3-way toggle), then to ground. And another resistor soldered to the neck connector, then to ground. The single coils would then be 'seeing' 250k each. Mind you, you might not want to go to all that trouble. There's no law stating single coils can't see over 250k. Fender Jaguars have, what, 1M pots? At 500k, the single coils will certainly be brighter than at 250k. You could offset this by selecting single coils that are warmer (less trebly), such as a DiMarzio SDS-1, or an FS-1. Or you could install single coil size humbuckers, such as a Seymour Duncan Little '59 Strat. There's a wealth of choices, as you know. Perhaps you will be using the EP-0065-000 switch found here: https://guitarpartsresource.com/electrical_toggleswitches.htm

I have Jim Seals to thank for a vexation during my childhood years: My hometown's public swimming pool always played a local radio station over the PA during those idyllic summer days. One of the songs occasionally heard was 'Summer Breeze'. I'd hear that lyric, ". . . blowing through the jasmine in my mind". This I found baffling. "Did he sing, 'blowing through the jasmine in my mind?'" "What does that even mean?!" "How and why would a person have jasmine in their mind?" Brothers and friends could offer no answer.

This is a live performance of 'Middletown Dreams' to which I frequently return (from the Power Windows tour): The way in which the guitar and synths blend/interplay is a study in itself. Not only the arrangement sensibilities, but the complementing timbres. We get some of that distorted yet cutting, less than a humbucker but more than a single coil, chorused guitar. The pickups in those Signature Aurora guitars (made by Evans (E-1s) for Signature) certainly aided in achieving that sound. Not surprising, then, that Alex harvested one of those pickups from a Signature and put it in a PRS guitar. (Which reminds me of a guitar tale from years ago: I received a call from a friend saying, "Hey! We've got a Signature for you to have a look-see. Come on down!" It was (presumably) a one-off prototype. Something akin to a string-through-body Aurora. It wasn't bad, but it certainly wasn't extraordinary. What I remember most about it was the absolutely horrible job of bookmatching the top somebody had done. "Who bookmatched this top?! Or should I ask, who didn't bookmatch this?!" Oy. Now I wonder what ever happened to that guitar.)

Ah, this (↑ immediately preceding post ↑) ­­really takes me back to the '72 finals of the All-England Summarize Proust Competition.

That is actor Eric Braeden (born Hans Gudegast in Keil, Germany). It's interesting you've pointed-out a similarity. Neil appeared in a 1982 episode of The Young and the Restless as Victor Newman's (Eric Braeden's character) son.* *This statement may be a slight fabrication. Actually, it might be a complete fabrication. Okay. It's totally false.

Türkiye (not Turkey), eh? Hmm. Well. I dunno. This could be a bit of a challenge. Lyrically, it lacks that certain . . . something. A previous Turkish name alteration offered a bit more substance with which to work. But it's gonna be tough to wring a catchy novelty song from this most recent change.

Neil, with a degree of humorous humility, indicates he and the band aren't prepared to settle for just being reasonably good musicians at the 5:24 mark: Interviewer: Where are you planning on going from here? Neil: To the top. Then Alex, being ever the Spaßmacher, replies, "I'd like to go down to the Bahamas for a couple weeks."

A newspaper article from the same stop in Dallas (courtesy Cygnus X-1): https://www.cygnus-x1.net/links/rush/images/tourdates/1974-10-17-2.jpg I got a kick out of Neil's assessment: "People like Black Sabbath, that wasn't 'energy' music, really, it was 'downer' music, ya know. It was heavy, but, uh, there was no energy . . ."

I guess this means you've won! Oh, wait.

It is true Ronnie was born in Arkansas. He did always maintain his American citizenship, while also attaining Canadian citizenship. So, in the de jure sense, he was both American and Canadian. I would suggest if someone choses to legally live in a given place (Canada in this case) for roughly 60 years, we might also consider that person a de facto citizen of said place.

The primary Rush connection here being Ronnie's former abode at Stoney Lake, northeast of Peterborough. The boys did much of the writing/threshing out of Moving Pictures there before proceeding on to Le Studio. Here's a view of the place. You can see (sort of) the barn to the right, obscured by a tree. Turn 180° to see Stoney Lake. Lovely in the summertime. Well, I presume it's lovely in the summertime. https://goo.gl/maps/29u2mx6Dvqfrm9iE6

Oh wow, man. It's unbelievable you've steered the discussion into this ditch. You've callously ripped the scab off a wound which I previously thought had healed. And now . . . all I hear are the sad strains of "Love Theme from Goose's Death" reverberating through my mind.

Brush studies with Peter Erskine (an hour+ session):

Perhaps the Ramirez did not meet its reserve. The '76 Gibson Dove was used in the studio for 'Closer to the Heart', as well as a Gibson B-45 12-string. Here's a link to the auctioned Dove: RUSH: ALEX LIFESON CLOSER TO THE HEART STUDIO AND STAGE PLAYED 1976 GIBSON DOVE ACOUSTIC GUITAR (WITH UK WORK PERMIT AND TOUR BOOK) WITH NFT (julienslive.com)

From a recent thread on this subject: https://www.therushforum.com/index.php?/topic/114034-limelight-from-toronto-32581-show-posted/&do=findComment&comment=5001370 Bonus! Here's a link to this unit (with pics) at Reverb (and in a few months/years, this link will probably be kaput): https://reverb.com/item/27871051-vintage-deltalab-adm-2048-super-timeline-digital-delay

Both a pioneer and giant of synth composition. Now riding upon God's sine waves. A personal fave, of which I believe a smidgen can be heard in Carl Sagan's Cosmos series (in addition to other Vangelis tracks):