West Coast Blues Thread - Version 2.0

[Goldie295]

I was just kidding about the settings on an amp...My sound is from the Hands, not the numbers. (It's how you attack, and different things one learns through the Years.)
I like James Hunter, too. and Chris 9.5lbs is a boat anchor. (You can get a 7.5 lb Paul, if you look.
Imho.
ymmv

Kenny,
Love the way you didn't take back the 'removing the fuse trick'.
Dear diary, if I ever go to a jam run by KBR I must remember to take a spare fuse !! :p
Cheers,
Phil

[jumpnblues]

All about the Groove, a good solo ain't nothin w/o a Happening Groove to ride on.
Take it down (Volume, take it up, dynamics, something most players don't have a clue with) Ronnie Earl works these well, especially on a slow Blues.


Yep. Dynamics is so essential, at least with jazz and blues. Kinda' like Noel was saying, listening to a conversation where someone shouts all the time is numbing. And after a period of time you just quit listening. When a guitar player "shouts" all the time, after awhile...zzzzzzzzzzzzzzzzzzz. But solos where dynamics are varied tends to keep you listening and draws you in. Oh yeah, Ronnie Earl is a master at it.


Tom

[KBR]

I don't do too many Jams, just started doing one about 3 years ago...
Most Cats play more notes in one solo, than I do all night (and they call that the Blues...NOT!)

why is everybody seem in a hurry when they solo? Why all the nervousness..keyboardist's, piano players are all frantic..I guess, since I am 58, I like to play slower with feeling. All these nervous Mooks playin Guitar make me nervous, I say give em a Valium (They would all play a lot better, a lot Hipper_)
Not that i take anything, I like workouts at the Gym...better than vitamin V

[hasserl]

I'm running a jam night this evening...

It's at a pub called the Nags Head (good old English pub name)

Trying to explain to people why they don't need pedals when playing through my Bassman clone is such a pain.

Why do so many people still insist on that mentality of keeping the guitar volume on 10 and then stepping onto a pedal when it is time to solo? I mean, it just doesn't work well for one thing.

Anyway, if I convert just one of the blighters it'll be worth it !

Cheers,
Phil

I ran a jam night here in Orlando one time. One guy pulled out a Digitech multi effects pedal. I told him simply we just didn't use those things.

You should put a note to that effect on your sign-up sheet. Not only are pedals a pain in the butt sound-wise, but people who use them always take more time to set up, and it takes away from the playing time of the other people onstage.

I host a monthly jam and help supervise two others each month, this really resonates strongly with me. I still let guys bring their own amp up, just because I don't want to supply the entire backline (I already supply the bass amp and one guitar amp, and there's typically two guitars playing at a time), and it takes enough time to swap out amps, let alone a floor full of pedals. Then the guy steps on them and sounds like sh!t. At the last jam I did go up to one guy after the first song and advise him to turn his Metal Zone (yikes!!!) off, because all we were hearing was a wall of fuzz. He obliged, and I made sure to go back up after the next song and tell him how much better he sounded. He took it all well, but it can be a touchy topic.

I always bring an amp that has plenty of OD with the guitar plugged straight in, no pedals needed for blues. It's not always the same amp, because I have a few and I like to rotate thru them. But each one works perfectly fine with plenty of OD for playing the blues. Just work the guitar volume control, roll it up for leads and you'll cut thru with plenty of sustain and grit; roll it back down when your done with your solo and it cleans right up for rhythm work. Adding a pedal, in most cases, ruins the tone and destroys note and string definition, blurring everything together into an aural assault of noise. Anyone is free to use it during their three or four song set (as long as I'm not playing too), and most people do and thoroughly enjoy the experience. But then you get the guy that brings his pedal(s) up with him. I even had a guy bring a Pod up and plug into that then into my amp, then proceeded to play a torturous set of Jimi Hendrix covers that made me cringe. Arrrrgh!

Oh well, such is the way it goes with jams, eh?

[KBR]

Jams are rough, The Little Fox Jam is the Best one, Vinnie runs it well (A New Yorker),
And has different Hosts, so it is successful. The Mojo Lounge is pretty Good, I do it once a month and these 2 are the Best in the Bay Area, (We are fortunate)

[Echo Are]

Chris 9.5lbs is a boat anchor. (You can get a 7.5 lb Paul, if you look.
...and don't forget the Les Paul Specials & Juniors, the slab-bodied Lesters, they tend to be pretty light. I once had a double cutaway Special(not a vintage one, it was a late-'90s version, had P100 pickups)that was light as a feather, and sounded great.

[Stringmaster]

I don't do too many Jams, just started doing one about 3 years ago...
Most Cats play more notes in one solo, than I do all night (and they call that the Blues...NOT!)

why is everybody seem in a hurry when they solo? Why all the nervousness..keyboardist's, piano players are all frantic..I guess, since I am 58, I like to play slower with feeling. All these nervous Mooks playin Guitar make me nervous, I say give em a Valium (They would all play a lot better, a lot Hipper_)
Not that i take anything, I like workouts at the Gym...better than vitamin V

KBR tells it like it is IMO. I had a great teacher (Bob Dodd) when I was 15 who showed me a few scales, and then said--playing the Blues is all about dynamics between fast and slow notes, loud and soft notes, bent and straight notes, etc, and that it's all about the "feeling".....Now go out and listen to as many players as you can to "get the feeling"--it's not about how many notes you play, but it's the feeling behind them and how you "say" it. I've pretty much lived by this philosophy--and I'm 53 now. I rarely get comments for my "blazing" technique, but other players often comment that I play with a lot of "soul", or that my technique is very "smooth", and that I really know how to "work the box". I'm ok with that--although sometimes I wish I had the ability to play faster and flashier, but at the end of the day, playing simpler, more toneful/soulful, and FITTING IN with the band, helps get me more gigs, and is more personally satisfying. I do play a lot of Jams, often anchoring, and 99.9 of the players have to prove what they can do in the first four bars. Rarely do I hear a player with an understanding of playing melodically, which is also a big part of effective playing IMO. I've always contended that the very best and most professional players of any genre just play what fits best, supporting the song/singer/other musicians, and have nothing to prove to the world.

Re: effects--many of the players I play with use various effects pedals (namely overdrives), and I can't think of any that use them effectively--it's always a real contrast in tone, and a very processed sound, which doesn't fit IMO. When I use pedals, I like to think that it is with taste, and usually will only boost my amp mildly, and listeners would be hard pressed to peg it for a pedal--just like turning my amp up a couple of notches. I do like trem pedals too on occasion. Taking the pedals out is dependent on the particular gig--mostly they stay home.

On thing that kind of bums me out is that I often have to put my personal preferences/tastes aside, just to be able to get out and play. I don't have the time or energy right now to be a band leader where I can dictate 100% of what is expected from each players. So I have to, at times, compromise, and do songs that I wouldn't choose, or listen to a second guitarist step on a pedal in poor taste--but, I'm playing with folks that I enjoy working with, and I'm not sitting home. But whenever I play, I always try to do what I feel is best in the situation. And, I get to do my thing mostly--just not 100%. And it all really helps to continue to develop my craft.

Side note: I just put my vintage Valco amp on the Emporium if anyone is looking.

End of rant, Dana

[Sweetfinger]

At the end of the day I also don’t want someone putting some dodgy fuzz or boost pedal through my amp and causing any tube problems.

The truth is, there isn't any guitar or pedal that will cause "tube problems" in a tube amp. The danger is largely with speakers. Many vintage amps have speakers that aren't rated to take the full output power of the amp, and also, may be ready to fail because of age.

[RickyKing]

Jams are rough, The Little Fox Jam is the Best one, Vinnie runs it well (A New Yorker),
And has different Hosts, so it is successful. The Mojo Lounge is pretty Good, I do it once a month and these 2 are the Best in the Bay Area, (We are fortunate)

Hey KBR I got to sit in at the Blue Lamp one night...wild scene!

[valcotone]

FWIW, my 2004 Edwards LP P90 gold top is 7.75 lbs. I used to travel to Japan and saw a few of them there and they were all around that weight. 9.5 lbs might be unusual, or maybe they are getting heavier now?

[KBR]

I had a Gig there (Blue Lamp) and couldn';t find a parking space, so I bailed, looked like I would have had to draw my knife to make it inside, lot's of Mooks around...
Kinda Like ELI's in Oakland, If you can't park out front, don't even try.
I parked out front of Smokey Wilson's Pioneer club Fri/Sat nights as long as I had that Gig. *88th & Vermont, In Watts (Now called South Central...forget it, dangerous)

[afenderman67]

FWIW, my 2004 Edwards LP P90 gold top is 7.75 lbs. I used to travel to Japan and saw a few of them there and they were all around that weight. 9.5 lbs might be unusual, or maybe they are getting heavier now?

i hope mine is close to yours in weight? i hope there scales are off!! i thought LP were surpost to be heavy?

[S.W.Erdnase]

http://www.youtube.com/watch?v=lX-uD6Dko1w

Clark Piedmont hi-fibre chunky goodness.

[Jeff Michael]

Playing is absolutely the exact same thing as singing. If you can sing it, you can play it. The highest state of musical "awareness" (or whatever) is when you can sing directly through your fingers. Chord stuff is just choral arranging--a six-voice choir.

Box patterns and fast finger choreography are neato. But only when you transcend them and really start to sing can you even start to hope that you can get beyond the machine and start making real music.

More to the point, KBR, people who babble on guitar do so because they stupidly equate silence with being out of ideas, and don't trust themselves to make the right choices. You ever go to somebody's house where every square inch of every wall is covered with art? Same deal.

JAM

[bluesjuke]

Perceptive Jeff.

[jumpnblues]

"[...Playing is absolutely the exact same thing as singing. If you can sing it, you can play it. The highest state of musical "awareness" (or whatever) is when you can sing directly through your fingers. Chord stuff is just choral arranging--a six-voice choir...]"


When guys ask me how I play lead and make it fit the song, that is exactly how I explain it to them. Sing the line (in your head or even out loud), find it, then play it. If you learn to play lead that way you will eventually be able to "route it" directly from your head to your fingers. Makes for more melodic playing, keeps you from getting in ruts, and you'll be much less repetitive. Keeps your phrasing and playing fresh.


Tom

[Sweetfinger]

You ever go to somebody's house where every square inch of every wall is covered with art? Same deal.

JAM

I don't think so. When I was younger I had all my art displayed in the modern gallery style, lots of bare wall, but in my old age, I've moved closer to the old 'Paris Salon' style. More interesting and...... vintage! :D

[KingTone]

Hey, Any body know who is in the guitar seat right now with John? He is schedualed to play here is Salina, Ks. next Sat. Aug. 16th. at the Blue Goat. The crowds here are, shall we say, less than spectacular. Any body that can make this gig should do it.
If you have a classic rock band or country ,please no original music, check out Salina. Sheesh! End of rant. Have a good one everyone. JL

[nmontz]

I saw Nemeth last night in Des Moines and it was Bob Welsh.

[Scott Miller]

As they left town several weeks ago, Marty Dotson was on drums. That's worth the price of admission. Ask him to tdo his harp feedback imitation. It's quite extraordinary, and drives harp players crazy. A guy I didn't know on bass (Dmitri) although I think we established he is well-known back east.

[RickyKing]

As they left town several weeks ago, Marty Dotson was on drums. That's worth the price of admission. Ask him to tdo his harp feedback imitation. It's quite extraordinary, and drives harp players crazy. A guy I didn't know on bass (Dmitri) although I think we established he is well-known back east.

Bassist Dima Gordesky can be found with either John or Roomful Of Blues....

[DrSax]

Here's the thing about not playing flashy/alot of notes at a jam or audition: In my experience, as much as everyone says they want to hear soul/tasteful playing, you'll get the gig or impress more people with blazing away. So many times I've laid back and played tastefully, to the song, to the rest of the ensemble, only NOT to get noticed. While the flashy pants blazer comes in guns-a-blazing and gets deemed the best player on the stage or at the audition. Seen it too many times.

Now, granted, the BEST bands i've played with knew better. And you could make the argument that you don't want to be with a bunch of folk who can't tell the difference anyway. But when you're out there trying to get work, flash wins. Sad but true.

[hasserl]

Here's the thing about not playing flashy/alot of notes at a jam or audition: In my experience, as much as everyone says they want to hear soul/tasteful playing, you'll get the gig or impress more people with blazing away. So many times I've laid back and played tastefully, to the song, to the rest of the ensemble, only NOT to get noticed. While the flashy pants blazer comes in guns-a-blazing and gets deemed the best player on the stage or at the audition. Seen it too many times.

Now, granted, the BEST bands i've played with knew better. And you could make the argument that you don't want to be with a bunch of folk who can't tell the difference anyway. But when you're out there trying to get work, flash wins. Sad but true.

Lot's of truth to that, unfortunately.

[Jeff Michael]

Auditions aren't talent contests; there's no absolute merit in "winning". The player has to fit the gig, but the gig has to fit the player too. Unless you want the gig with the guys who want the flashy pants blazer.

I've declined invitations to audtion for bands that I thought were quite good, just because I knew that we wouldn't gel. No judgment involved, I'm not too good for them, they're not beneath me--I just think that what I do and what they want aren't close enough to even bother with an audition. Hell, last time it was a scheduling conflict: I just knew that they wanted a full-time committed guy, and with my gig schedule there was no way I could guarantee my availability. I asked to be added to their sub bench, though.

JAM

[jumpnblues]

Archtop players, what type of string are you using for a 3rd string...unwound or wound? And, are you using unwound or wound strings in general? Thanks.


Tom

[stratotonedude]

Archtop players, what type of string are you using for a 3rd string...unwound or wound? And, are you using unwound or wound strings in general? Thanks.


Tom

Mostly I use a wound G. Some guitars with a wound G have flatwounds and some have roundwounds.

I have used Ernie Ball Power Slinkys- 11 to 54 with an unwound G- on archtops when I wanted to play an archtop but was playing some music where I wanted a brighter tone. But I found that my archtops sound much better for everything when I have heavier strings with a wound G.

[Ryguy]

I use an unwound G, even with 12 flatwounds. The intonation is better with a wound G, but even on jazz boxes with heavy strings I like to be able to bend the G string more than a half step, with I find really hard to do with a wound G. A good compromise are the Tomastik 12's Bebop style. They are all wound, but very tightly to reduce noise, and fell great. They come with an unwound G.

YMMV

[Goldie295]

Here's the thing about not playing flashy/alot of notes at a jam or audition: In my experience, as much as everyone says they want to hear soul/tasteful playing, you'll get the gig or impress more people with blazing away. So many times I've laid back and played tastefully, to the song, to the rest of the ensemble, only NOT to get noticed. While the flashy pants blazer comes in guns-a-blazing and gets deemed the best player on the stage or at the audition. Seen it too many times.

Now, granted, the BEST bands i've played with knew better. And you could make the argument that you don't want to be with a bunch of folk who can't tell the difference anyway. But when you're out there trying to get work, flash wins. Sad but true.

BB King used to say he doesn't need to complete on the bandstand, he just plays like BB King. Gary Moore used to say, after playing a song or two on stage with BB King all he can do afterwards is play 'BB King' licks all night.

Spot the impostor...

Truth is, tasteful can be boring. In many respects sugary sweet tasteful licks are as contrived as fast ones. You have to get beyond that. You have to speak through your axe so people are hearing you and not stuff you learnt a week or so back. Jr W does this.

Cheers,
Phil

[Goldie295]

The truth is, there isn't any guitar or pedal that will cause "tube problems" in a tube amp. The danger is largely with speakers. Many vintage amps have speakers that aren't rated to take the full output power of the amp, and also, may be ready to fail because of age.

I hear that - a friend who runs a jam had a great Blackface Deluxe Reverb runied by someone who fancied himself a little too much and went high volume putting a 'boutique' Klon Centaur though it. After three songs with that thing giving it one the old girl was never the same again.

Still these things can be good for an amp. Poppa Stoppa lent his CVR to a visiting american guitarist and after the beating it took over a week of gigs, it sounds amazing and is now his favourite amp.

BTW, you can kill an amp with pedals. I once killed a Cornell Romany with a ZVex SHO. To my ears back then, it sounded killer for about four minutes. :NUTS

Cheers,
Phil

[saggybottom]

Hope this is OK to post here as I know you guys will dig this.

I have a Epiphone Emperor with a Lollar Charlie Christian pick-up and numerous upgrades listed in the emporium

[Scott Miller]

OK, so that was not what I expected. James Hunter, I mean. Great singer, guitar player, but mostly the music... one mighty groove after another, short songs, dynamic band, lots of instruments but still plenty of space.

[hahpin]

Hey, Any body know who is in the guitar seat right now with John? He is schedualed to play here is Salina, Ks. next Sat. Aug. 16th. at the Blue Goat. The crowds here are, shall we say, less than spectacular. Any body that can make this gig should do it.
If you have a classic rock band or country ,please no original music, check out Salina. Sheesh! End of rant. Have a good one everyone. JL


Saw Nemeth Sunday afternoon at The Bayfront Bluesfest then Sunday night at one of my favorite places for Blues: Bev's Juke Joint in Superior Wisconsin. Small, smokey, loud and full to the brim.
Nemeth and the boys put on a killer show. Nemeth was fired up.
Bob Welch is one fine guitar player. Think Earl Hooker.

Dimitri and Marty form one killer Rhythm section. I was invited up to play a couple of songs; man what a big fat groove they served up.
Do not hesitate to see this band. Tell everybody that they have NEVER seen/heard a singer like Nemeth. And he's a really good harp player too.

[Ryguy]

Thanks for the heads up on James Hunter, man can sing, great tunes!

[jumpnblues]

OK guys, I'm about to stand naked before you...no, no, wait, wait, don't run away!! I was just kiddin'!! Sheesh! What I meant was I just posted my first sound clip...ever. It's on the Member Clips forum. It's the "Heaven St." clip. Nothing to turn flips about, but it's one of my first songs turned out in my home studio. There is about a 15 second lead in before the song begins. Hope ya' enjoy it...mistakes and all. :phones:phones:phones


Tom

[jumpnblues]

Thanks for the heads up on James Hunter, man can sing, great tunes!


Thanks from me too. I just received my first James Hunter CD and have 2 more coming. Can't wait to hear 'em.


Tom

[Scott Miller]

Dang DVD messed up, so all I could get from this song was my solo. What an alarming coincidence, huh?

http://www.youtube.com/watch?v=lyUagFOkvrw

[groove_king]

Hey that was real nice Scott. Do you always fingerpick? You've got real nice technique - very clean.

[sethr]

OK, so that was not what I expected. James Hunter, I mean. Great singer, guitar player, but mostly the music... one mighty groove after another, short songs, dynamic band, lots of instruments but still plenty of space.


And he plays the shortest solos ever. He really leaves me wanting more. Perfect.

[RickyKing]

Dang DVD messed up, so all I could get from this song was my solo. What an alarming coincidence, huh?

http://www.youtube.com/watch?v=lyUagFOkvrw

Nice Job...all fingers,eh?

[sethr]

Here's me and Ricky at the New York State Blues Festival last month. Could we be any handsomer?

http://files.dmusic.com/music/s/h/sharks//Me_and_Rick_small.jpg

[Dave Orban]

Studly!

[THINSOCKS]

Hey Ricky, - That guitar looks familiar. Glad to see it's getting some use.

[sethr]

Hey Ricky, - That guitar looks familiar. Glad to see it's getting some use.

He was just finger-synching. I was playing both parts.

[bluesbreaker59]

Noel and Tom,

Sep. looks great for me, I'd love to get together and compare notes and catch up. BTW, I'm gigging with my new band on Aug 31st at Summerset Winery in Indianola. Malcolm is playing harp/singing for us, and I've got an allstar rhythm section for it too, complete with "doghouse" bass... Its gonna be a treat, look for us, The El Dorado's band, sometimes a trio with just me singing, and other times (when we can afford it) we'll have Malcolm.

[blueskalle]

Hey Scott M: Great playin- You got me wanting more!!!
Kalle

[jumpnblues]

Nice playin' Scott. Very nice.


Tom

[KBR]

Good clip, Tom
Gotta dig those Don mare Tele Pups!

[jumpnblues]

Thanks Kenny! Yeah, I really like Don's pu's. Just ordered another set (Super Sports) for my other USACG Tele.


Tom

[Scott Miller]

Yes, I'm pretty much all fingers all the time. I carry a pick in case I ever need to play "Time is Tight," or something like that.

[KBR]

Here's a bit of Me and some buddies, 1st song I have Don 's Tele bridge pup in action.

http://www.youtube.com/watch?v=DpDVl4QMZP8
__________________

[AndreasA]

KBR, do you have any video on youtube where you play a P-90 in the neck position?

Also, regarding your guitars with P-90/Humbucker in bridge and strat pu in neck: are the strat pu's overwound to keep up?

I'm still trying to figure out what kind of a P-90 strat I'm going to put together so all kind of info on the subject is appreciated.

Keep the videos comming, KBR!
Andreas A

[AndreasA]

@Schwalbe, thanks for the info about the 12AT7 vs 12AX7 in my 6G15 clone. The Mullard 12AX7 is dead quiet but drives the reverb very hard. I am going to get a Mullard 12AT7 to A/B with as I actually think that I prefere the AT7.

[KBR]

I have youtube stuff, like most cats.
i like strats pups 5.6K-6.4k..not overwounds.
Buy A KBR Guitar, Bro!

[bluesjuke]

Quote:
OK, so that was not what I expected. James Hunter, I mean. Great singer, guitar player, but mostly the music... one mighty groove after another, short songs, dynamic band, lots of instruments but still plenty of space.
And he plays the shortest solos ever. He really leaves me wanting more. Perfect.


First heard of him and a clip maybe two years ago and then a couple of nights later was fortunate to catch him on Conan.
I liked what I heard.
He does leave you a little hungry but just enough.
He's got Soul in his Soul.

Here's a clip of James;
http://www.youtube.com/watch?v=DyMtpGqrPAo

.

[jumpnblues]

Quote:
OK, so that was not what I expected. James Hunter, I mean. Great singer, guitar player, but mostly the music... one mighty groove after another, short songs, dynamic band, lots of instruments but still plenty of space.
And he plays the shortest solos ever. He really leaves me wanting more. Perfect.


First heard of him and a clip maybe two years ago and then a couple of nights later was fortunate to catch him on Conan.
I liked what I heard.
He does leave you a little hungry but just enough.
He's got Soul in his Soul.

Here's a clip of James;
http://www.youtube.com/watch?v=DyMtpGqrPAo

.


Wow! The ghosts of James and Jackie in a British white guy's body!!


Tom

[bluesjuke]

It's been a long time since I've heard some of his sounds.

http://www.jameshuntermusic.com/

[Strat-O]

Ricky sure has some cool looking guitars.

One of the injustices of the world is that Sugar Ray Norcia isn't a household name. Man, do I love his voice and harp playing. The Ronnie Earl stuff in particular is killer. If I lived up in the north east I'd be begging him to let me play with him. Offer to pay him to let me play even!

:dude

[GOLDENSTRAT]

Excellent playin' Scott!!!

[Dave Orban]

One of the injustices of the world is that Sugar Ray Norcia isn't a household name. Man, do I love his voice and harp playing. The Ronnie Earl stuff in particular is killer.

:dude
Indeed!

[afenderman67]

FWIW, my 2004 Edwards LP P90 gold top is 7.75 lbs. I used to travel to Japan and saw a few of them there and they were all around that weight. 9.5 lbs might be unusual, or maybe they are getting heavier now?


well i got my edwards goldtop and all i have to say is: what a f***** guitar, its great!

it weigh's just under 8lb's.the neck a perfect size,the finish is great, the pups sound real good too! i was in hollywood this weekend and i played a gibson R6 goldtop.it was to heavy, the neck was too big and the craftmenship was bad as well!

this edwards goldtop is the shit!!

so thanks to all who pointed my in there direction!

i'm a happy camper!

[afenderman67]

Quote:
OK, so that was not what I expected. James Hunter, I mean. Great singer, guitar player, but mostly the music... one mighty groove after another, short songs, dynamic band, lots of instruments but still plenty of space.
And he plays the shortest solos ever. He really leaves me wanting more. Perfect.


First heard of him and a clip maybe two years ago and then a couple of nights later was fortunate to catch him on Conan.
I liked what I heard.
He does leave you a little hungry but just enough.
He's got Soul in his Soul.

Here's a clip of James;
http://www.youtube.com/watch?v=DyMtpGqrPAo

.
i'm really digging james hunter right now, listen to his solo on (dont do me no favor's)

i think he's a great singer with a great band and a shit load of soul!!

[RickyKing]

Ricky sure has some cool looking guitars.

One of the injustices of the world is that Sugar Ray Norcia isn't a household name. Man, do I love his voice and harp playing. The Ronnie Earl stuff in particular is killer. If I lived up in the north east I'd be begging him to let me play with him. Offer to pay him to let me play even!

:dude
+1 on Sugar Ray!

[Goldie295]

A couple of pics of my Gibson 56 VOS have surfaced on some blues sites. Thought I would post.

I am lovin' that guitar. Can't believe it took me so long to get one.

Congrats afenderman67 on the Edwards. If you have come from fenders like me, then it is quite an eye opener to suddenly get the sounds you have been trying to get for ages just like that. Amazing the difference a little wood makes.

http://homepage.mac.com/rupertbutterfield/.cv/rupertbutterfield/Sites/.Pictures/2008%2007%2024th%2C%20Harp%20Jam/DSCF7223.JPG-thumb_202_269.jpg


http://homepage.mac.com/rupertbutterfield/.cv/rupertbutterfield/Sites/.Pictures/2008%2007%2024th%2C%20Harp%20Jam/DSCF7225.JPG-thumb_269_202.jpg

Cheers,
Phil

[Goldie295]

Quote:
OK, so that was not what I expected. James Hunter, I mean. Great singer, guitar player, but mostly the music... one mighty groove after another, short songs, dynamic band, lots of instruments but still plenty of space.
And he plays the shortest solos ever. He really leaves me wanting more. Perfect.


First heard of him and a clip maybe two years ago and then a couple of nights later was fortunate to catch him on Conan.
I liked what I heard.
He does leave you a little hungry but just enough.
He's got Soul in his Soul.

Here's a clip of James;
http://www.youtube.com/watch?v=DyMtpGqrPAo

.

Great clip - thanks for that. A guy that had serviced his Les Paul (and was at the time trying to sell me an ES135) told me James Hunter uses P100s. I just remember thinking, the headstock looks cheap so it's gonna be bad resell and who the **** is James Hunter. :jo

Cheers,
Phil

[Poppa Stoppa]

...Amazing the difference a little wood makes.

http://homepage.mac.com/rupertbutterfield/.cv/rupertbutterfield/Sites/.Pictures/2008%2007%2024th%2C%20Harp%20Jam/DSCF7223.JPG-thumb_202_269.jpg


Cheers,
PhilAin't it though. Those shorts were down to your ankles last time I saw you play.

[KBR]

You can't play in the UK with those pants, Homes.
Maybe Mississippi, where it is 105 degrees, but not England!
I like the LP.

[Goldie295]

You can't play in the UK with those pants, Homes.
Maybe Mississippi, where it is 105 degrees, but not England!
I like the LP.


Ooops - talk of me in short trousers seems to have killed the thread...

Kenny you are right of course - the UK is no place for shorts. However, I had just got back from Florida (which explains my classic 'just been to the outlets' look) and it was actually a warm day here in the UK. Our only one this year in fact...

By the way, Jason Lollar is winding some 'Sean Costello' P90s for me. Will let you know how they sound when I get 'em.

Cheers,
Phil

[fretshop]

Hey all !! Out of cmmission until at least October. I got to a local computer and am posting. Hope all is well. Ya won't here much more from me until I get back to work (probably a welcome silence to some of you heh, heh).


+1000 re: Sugar Ray. He started coming around to our gigs during the 80's, accompanied by Mr. Horvath. Everyone was impressed with Ray's vocal stylings and his easy, comfortable persona while on the band stand. He does a fantastic job on the old standards tunes as well as blues. Can't rave enough about him.

For those of you who may give a hoot....

Our Sunday soiree at The Blue Moon on 7/27 was even more successful than we had imagined. Over 80 people showed up during a torrential rain storm, and the event went until almost 800 PM. Russ Lambert drove all the way out in the storm, and was a sure hit that day. We will have the club on Sunday afternoons starting after Labor Day. Same format...club open to the public, but musicians by invitation only....so every one gets to stretch out and play a nice set. The "Martini Sundays" will feature jazz, Blues, Gospel and R&B players from our "members" list, And there will be ribs, steaks, etc. grillin' back in the N'awlins style garden area. The club has a 1000 watt sound system, great monitors, pro drums, and some fine house amps.

I'll sign off for now. hope everyone is enjoying the summer....I'm getting some much needed rest and medical attention that I ignored for a long while. I should be up and around, abusing myself and burning the candle at both ends in a few weeksl.

Ta Ta

H. Lecter, MD

[fretshop]

Massachusetts crew:

I'm going up to Lowell to hang out at the family compound. I'll check Racky's and Ricky's schedules....maybe we'll catch up someplace.

having a friend for lunch...must go

Ta Ta

[Dave Orban]

Massachusetts crew:

I'm going up to Lowell to hang out at the family compound. I'll check Racky's and Ricky's schedules....maybe we'll catch up someplace.

having a friend for lunch...must go

Ta TaDude! :dude

[jimfog]

George,

Sorry I missed the Sunday soiree .............had a last minute situation...... and I was Melissa's ride up there.

Glad to hear you're doing better.

I owe you a call re: Ghetto Stomp, but I misplaced your #......call me if you want.

cheers,

Jim

[RickyKing]

Lecter www.myspace.com/rickykingrussellband (http://www.myspace.com/rickykingrussellband) best for schedule...come out!

[TwoFeets]

Friend of mine is having a 3xP90 guitar built and he wants to wire it up like a '49 ES5, but he doesn't want a push-pull pot, he just wants it wired like an actual ES5 with the neck out of phase with the other pickups.

I guess his tech picked up a wiring diagram from somewhere but he can't see how you can possibly do the out of phase thing on it, unless the actual pickup magnet was reversed or some such.

I'm just a caveman when it comes to these things - anyone here that can help him out?

[Poppa Stoppa]

Friend of mine is having a 3xP90 guitar built and he wants to wire it up like a '49 ES5, but he doesn't want a push-pull pot, he just wants it wired like an actual ES5 with the neck out of phase with the other pickups.

I guess his tech picked up a wiring diagram from somewhere but he can't see how you can possibly do the out of phase thing on it, unless the actual pickup magnet was reversed or some such.

I'm just a caveman when it comes to these things - anyone here that can help him out?Well I'm an electronics caveman too but what I did with my Epi ZBD was just to unsolder the two wires from the bridge pickup at the volume pot and swap them over. Works OK.

[KBR]

I did a Little Film and if you have 6 minutes, take a watch, and vote if you will,
I won't quit my Day Gig (Music) and become an actor, but it was a lot of Fun, Thanks, to Vinnie C, and all involved.

http://pahnation.org/theater.php?loc=bayarea08&tab=tab3&id=178

voting ends today at 5 pm,

God Bless,

Kenny 'Blue' Ray

[Schwalbe]

Well I'm an electronics caveman too but what I did with my Epi ZBD was just to unsolder the two wires from the bridge pickup at the volume pot and swap them over. Works OK.

Flipping one set of magnets is quick and easy. I did it on the middle pup of my ZBD.

[Goldie295]

Flipping one set of magnets is quick and easy. I did it on the middle pup of my ZBD.

As another caveman, how exactly do you flip the magnet? Do you have to open the pickup up?

Cheers,
Phil

[Schwalbe]

As another caveman, how exactly do you flip the magnet? Do you have to open the pickup up?

Cheers,
Phil

Yep. At you own risk of course. Remove the pup from the guitar, just the mounting screws, you don't need to un-solder anything. Flip it upside down. Try to ascertain if the pup is wax or epoxy potted. A thumbnail scratch ought to do. Wax will be soft, epoxy or some other plastic won't scratch. If it's not wax you're S.O.L.
You should find two screws that hold the bottom plate on. Remove the screws and gently pry up and loosen the bottom plate, you probably won't have to remove the plate. Gently pry up the magnets, one on each side and roll them over. You must roll both magnets or you'll get little or no output. Press them into place and replace the bottom plate. You should be good to go.
Be very, very careful working inside a pickup, those wires are tiny and frail.

There's a post on the TDPRI that might help.
http://www.tdpri.com/forum/just-pickups/96503-duncan-p90-fender-bridge%3Dhum.html

[Stringmaster]

If you're going with custom wound p/u's, you can always specify one to be reversed polarity, so you don't need to flip the mags.

[dddelta]

Hey y'all!! Good to see the Blues is still alive and kicking in this thread. Nice little short KBR.

Some new JLV - http://www.youtube.com/watch?v=EpfdMT04ZpM

[Echo Are]

Hey y'all!! Good to see the Blues is still alive and kicking in this thread. Nice little short KBR.

Some new JLV - http://www.youtube.com/watch?v=EpfdMT04ZpM

Speaking of JLV, I encountered this photo of him from circa 1967 or '68, when he played in the The Chessman, of Dallas, TX(Doyle Bramhall was their drummer for a time; he and Jimmie would leave the band in late 1968, move to Austin, leave Top-40 behind and play blues). He was probably 16 or 17 years old. 'Twas Jimmie's '60s Garage Band period. Kind of a trip:AOK. Dig that groovy gear:o. Said photo is posted at this site, for anybody curious:http://www.garagehangover.com/
http://www.garagehangover.com/images2/ChessmenJimmyVaughn.jpg

[bluesjuke]

Cool pic- Thanks for sharing that one!

[jumpnblues]

Wow, I looked at the pic first and just thought it was some contemporary kid player. So that's Jimmie? Unreal. Thanks for the pic.


Tom

[afenderman67]

how are you guy's setting up your bassman when you play a goldtop or p90 style guitar?

i'm playing my edwards goldtop through my victoria bassman with my 66 fender reverb tank, it sounds really good but i'm trying to nail that jr watson,west blues type sound?how do you get it loud enough with out getting to mushy?

like what kind of amp settings sound i try? and on the guitar as well?



thanks!

[KBR]

Chris,
try a low output Neck P90. I use and sell Lollars.
or ride the Bridge pup all night work the tone pot!
Pick up that Sherwood green metallic strat, then, mate

[Echo Are]

bluesjuke & jumpnblues: You're welcome :-).

I wonder what kind of tone Jimmie got playing through that Vox Super Beatle(?) amp?

[Goldie295]

how are you guy's setting up your bassman when you play a goldtop or p90 style guitar?

i'm playing my edwards goldtop through my victoria bassman with my 66 fender reverb tank, it sounds really good but i'm trying to nail that jr watson,west blues type sound?how do you get it loud enough with out getting to mushy?

like what kind of amp settings sound i try? and on the guitar as well?



thanks!


Hey, there is lots written about Jr W's tone on this thread. I thought JetLag put it well when he posted:

"Part of his tone is the way he sets the amp up - ss recto, 12AX7 in V1 and V2 and he plugs into the normal channel with volume on 4. Instrument channel is off, treble is cranked - about 10. Bass is cranked, about 7 or just under, with presence only on 2 or so. That and a reverb tank. It gives him a fatter, "older" tone out of his pro or 4x10 super - not as crunchy sounding as the instrument channel."

Now of course that is advice for a Pro or Super, but it is also good advice for the Bassman. The 12AX7s (which you may have anyway if you have a Fender reissue) are hotter than the 'proper' 12AY7s. I think the sold state rectifier is used simply because he has hot running transformers and for reliability. It is the 12AX7s that make the big difference. Note there are three of these tubes in your amp (the small ones). Change the two nearest to the edge of the amp (the right side as you look at the back of it). Ignore the other one.

Kid Andersen was using this tube swapping trick when I saw him. I couldn't believe how much drive he was getting out the amp and then he mentioned the 12AX7 tubes.

Once you have done all of that, I would try turning the tone knobs on each pickup down to around 4 (just before the treble bleeds off) and wire them out of phase. Run the guitar in the middle position. Have the treble pup volume on 2 and the neck on around 4/5. Move to 7/8 for solos. Move to 10 for massive reverb blasts (use sparingly!).

Cheers,
Phil

[Goldie295]

Have any of you joined "The Gear Page" Facebook Group?

[afenderman67]

Hey, there is lots written about Jr W's tone on this thread. I thought JetLag put it well when he posted:

"Part of his tone is the way he sets the amp up - ss recto, 12AX7 in V1 and V2 and he plugs into the normal channel with volume on 4. Instrument channel is off, treble is cranked - about 10. Bass is cranked, about 7 or just under, with presence only on 2 or so. That and a reverb tank. It gives him a fatter, "older" tone out of his pro or 4x10 super - not as crunchy sounding as the instrument channel."

Now of course that is advice for a Pro or Super, but it is also good advice for the Bassman. The 12AX7s (which you may have anyway if you have a Fender reissue) are hotter than the 'proper' 12AY7s. I think the sold state rectifier is used simply because he has hot running transformers and for reliability. It is the 12AX7s that make the big difference. Note there are three of these tubes in your amp (the small ones). Change the two nearest to the edge of the amp (the right side as you look at the back of it). Ignore the other one.

Kid Andersen was using this tube swapping trick when I saw him. I couldn't believe how much drive he was getting out the amp and then he mentioned the 12AX7 tubes.

Once you have done all of that, I would try turning the tone knobs on each pickup down to around 4 (just before the treble bleeds off) and wire them out of phase. Run the guitar in the middle position. Have the treble pup volume on 2 and the neck on around 4/5. Move to 7/8 for solos. Move to 10 for massive reverb blasts (use sparingly!).

Cheers,
Phil

thanks goldie295

i have already have a 12ax7 in the first gain stage of my victoria bassman, i'll try what you say about the guitars vol and tone settings!

[groove_king]

Have any of you joined "The Gear Page" Facebook Group?

yep. even posted pics of my gear.

[Schwalbe]

Sad to hear Phil Guy is gone. I always liked his playing. R.I.P. sir.

On a a lighter note, this looks good http://www.legends-of.de/video/dvd3/festival2/c_dvd3_festival2_video_v1.html

[afenderman67]

Sad to hear Phil Guy is gone. I always liked his playing. R.I.P. sir.

On a a lighter note, this looks good http://www.legends-of.de/video/dvd3/festival2/c_dvd3_festival2_video_v1.html

i loved phil guy's playing on the junior wells cd (live at theresa 1975) real clean but very dinamic guitar tone!


sorry for the spelling!

R.I.P chris

[valcotone]

On a a lighter note, this looks good http://www.legends-of.de/video/dvd3/festival2/c_dvd3_festival2_video_v1.html


Dan, do you know whether those DVDs are available for purchase? I couldn't find a link for that. One of them has at least 2 Little Walter songs (http://www.legends-of.de/tracklisting/d_dvd3_track_blues67_v1.html) (My Baby, Mean Old World) but I thought the only LW video was on the Hip-O DVDs?

[bluesjuke]

Sad to hear Phil Guy is gone. I always liked his playing. R.I.P. sir.

On a a lighter note, this looks good http://www.legends-of.de/video/dvd3/festival2/c_dvd3_festival2_video_v1.html


I heard he wasn't well a few days ago.
Sorry to hear he didn't make it.

[Schwalbe]

Dan, do you know whether those DVDs are available for purchase? I couldn't find a link for that. One of them has at least 2 Little Walter songs (http://www.legends-of.de/tracklisting/d_dvd3_track_blues67_v1.html) (My Baby, Mean Old World) but I thought the only LW video was on the Hip-O DVDs?

I read that they haven't secured USA distribution yet. I don't know about Canada either.

[jawjatek]

http://www.youtube.com/watch?v=lX-uD6Dko1w

Clark Piedmont hi-fibre chunky goodness.

Cool! Mike is building me a Tyger (5F7 Bandmaster 3-10") and I drive up there to pick it up next weekend. Looking forward to seeing his shop and, of course, playing my new amp! Perhaps I'll make some clips with it, to post here with pics. I'm not a WC style player per se, I lean more toward the Anson/Mike Morgan school of blues guitar, but we do whip out a couple swinging tunes on occasion...Hollywood Fats covers, Kansas City, etc. If the drummer can swing, that is (hard to find one who can).

[jumpnblues]

Cool! Mike is building me a Tyger (5F7 Bandmaster 3-10") and I drive up there to pick it up next weekend. Looking forward to seeing his shop and, of course, playing my new amp! Perhaps I'll make some clips with it, to post here with pics. I'm not a WC style player per se, I lean more toward the Anson/Mike Morgan school of blues guitar, but we do whip out a couple swinging tunes on occasion...Hollywood Fats covers, Kansas City, etc. If the drummer can swing, that is (hard to find one who can).


As for Anson/Mike vs WC blues, I'm somewhere in between. As for the Clarks, you and S.W. will be in tone heaven. If you like those amps half as much as I like my Louis amps you're in for a huge thrill. And that thrill will continue for a long, long, time. Congrats and enjoy!


Tom

[Poppa Stoppa]

On the current 'Grant Green Tone' thread one of the posts mentions a reissue of the ES330 due out next month. Anybody know any more?

[pete kanaras]

small neck

[Ryguy]

Poppa: http://guitars.musiciansfriend.com/product/Gibson-Custom-ES330-Long-Neck-Electric-Guitar?sku=527894&src=3TP8HJ&ZYXSEM=0&Prime

Pete, have you tried the 30/60 neck yet? It is actually pretty nice. I tried a 339 with one and found it very comfortable, bigger than the slim taper neck. I am am not so picky about huge necks anymore though, depends on the guitar. I Imagine this will be like most new Gibsons (maybe older ones too) that you have two play a bunch to find a winner. It is sort of cool they put out the long neck one. I have owned a 65, with the "short neck", and now have a 68 with the long neck, and like it quite a bit more. In addition to the better upper fret access, it just has a bigger neck tone, not boomy, just deep and loud, but it still has the classic 330/p90 bite and clearness.

Speaking of which, I am still having trouble getting the bridge pickup to match up with the neck. I had my tech add about 3k in winds to the bridge, (it is now around 10k) something he could reverse really easily, and I have it nestled up closer to the strings, but it is still weaker than the neck, not so much in terms of volume, just thinner sounding. I really like for all of my guitars to have fat sounding bridge with a bit of a boost compared to the neck. The old Guild's with the Franz always sounded great to my ears like that. Beautiful clear but substantial neck tone, and a big fat tele-ish bridge tone. My 330 is near perfect in every other respect, and plays itself, but live I still find I have to tweak to much, so I am going to try out something different in the bridge. Maybe have Fralin wind me a "pitbull" pickup.

Another conclusion I have come to is that small (14 watt) amps just don't cut it with a seven peice band. I have never had a mid sized tweed, but think I need to get one. Even if you like playing softer, and use dynamics, etc., three horns and a hammond on stage will drown you out! On the other hand the blonde Tremolux I just sold was too damn loud, so I am still looking for the sweet spot amp that gets me there and gives it up when necessary. I hate shlepping stuff, so I am determined to find the perfect rig that has the tone I like, with onboard verb and trem.

I took a chance and bought a Swart here after trying one out a couple of months ago and loving it, so I am hoping that fits the bill (20-22 watts, great verb and tremolo, not too pricey).

Sorry for the long a**es post, I have just been ruminating over this after the last couple of night's gigs with my "little big band".

Ryan

[pete kanaras]

no ry i have'nt, but if i were spending That much coin on a guitar i'd want a big neck. that's just my taste, the thicker the better. re the 330 pups i'd say unwind the neck to match the bridge; it'll put more air in your tone. too hot and you lose the air and start hearing more pickup than guitar, jmo. oh btw when you talk to lindy tell him i said hey; i'll be playing the the Jewish Mother on 9/6, a double bill with the remnants and rylo

[Ryguy]

Pete, I hear ya, neck sizes drive me batty; they have to feel right for you. I sold an Epi Riviera that sounded perfect to my ears but was just skinny in the neck. I have seen a few vintage 330's with bigger necks (according to the sellers at least) in the 2500-3000 over the last year, and with the market so slow this might be a good time to snatch one up.

I think I may do exactly what you recommended and jsut take some winds off the neck to cool it off a little.

[KBR]

why 500k pots on single coil P90's?
and a chicken neck...what up with gib*on?

[Ryguy]

Hey Kenny, the 330's I have played all had 500k, I have heard of some with 300k, but I tell you they would sound pretty muffled I think with 250. And the 30/60 neck again, ain't a baseball bat, but it is not skinny either, just a medium c-neck, maybe like '59 strat size sort of. that being said, I agree with your feelings about the Gibson corporation in general, WTF?

[TwoFeets]

When we were in Memphis for the IBC, we did the Gibson factory tour. Also checked out the factory store, where you would think they'd want to put their best foot forward. Everything in there was a dog. Railroad ties for frets, for one thing. I was really excited to try out the John Lennon Les Paul Special/Junior - the ones with the P90 in the bridge and the Charlie Christian in the neck. They had 4 of them on the wall and not one of them was under 9 lbs, I would estimate. Just total boat anchors.

[RickyKing]

RIP Phil Guy....
Scary Thought of the day.
When BB and Buddy and all are gone what a big job
it will be for us that try to follow.

[valcotone]

Poppa: http://guitars.musiciansfriend.com/product/Gibson-Custom-ES330-Long-Neck-Electric-Guitar?sku=527894&src=3TP8HJ&ZYXSEM=0&Prime
...
Ryan



http://img3.musiciansfriend.com/dbase/pics/products/9/9/8/567998.jpg

[jumpnblues]

RIP Phil Guy....
Scary Thought of the day.
When BB and Buddy and all are gone what a big job
it will be for us that try to follow.


Yeah, with "Gate" alone gone, it's a huge void. And now Phil, with all those in the last 5-10 years. Like George Jones sang..."Who's gonna' fill their shoes?" I guess it's up to people like the ones on this board? Traditional blues is in such a decline right now, there are just so precious few new people to carry the traditional torch compared to the numbers who have left us. And when we get a promising new blues practitioner...they leave us too (i.e. Sean Costello).
When I was setting up my myspace.com account I noticed a survey that ranked different genres of music according to popularity. There must have been 30 or more different genres that included not only blues, but world music, salsa, and several genres I'd never even heard of. And I was surprised to see blues was not ranked dead last...it was second to dead last. Out of all those genres? Very telling. All the more reason for us to keep playing and recording. Just as we did, I truly believe there'll be players in the future that will "rediscover" straight and traditional blues. But then I still believe in Santa Claus. Play on brothers and sisters.


Tom

[blueskalle]

Its lookin good to me( although I prefer the "short" neck). But at that price an old one would probarbly be my choice.
Now Im of to catch James Harman tonight!!!
Kalle

[pete kanaras]

a friend, who is in a position to know, told me that gibson frets the fingerboard first and then glues it to the neck!!! and, incredibly, has been doing so for decades. UNBELIEVEABLE! he said he knows that for a fact. and it explains a lot of the fretting/weirdness issues i've had with a lot of gibbys over the years. i was just totally blown away when he told me that, and i bet it's a big reason they're factory plek'ing a lot of their instruments these days....

i'm primarily a fender player but my buds who only play gibsons consistently tell me that their qc and general craftsmanship has really taken a turn for the (much) worse lately. that they are not to be trusted with qc, which is a total crapshoot anymore. pity. they're not my words, but the words of others who've been burned badly

[michael30]

a friend, who is in a position to know, told me that gibson frets the fingerboard first and then glues it to the neck!!! and, incredibly, has been doing so for decades. UNBELIEVEABLE!

Harmony did the same thing back in the day.

[pete kanaras]

yeah it's a way to speed up production for sure, but it's very odorific. especially with the prices high end gibsons are going for these days! with all the hype they dish out about "long tenon" this and "correct headstock pitch" that you'd think they'd have the decency to at least fret the instrument properly. jeez...

[jimfog]

If you haven't played a 30/60 neck, trust me, it's by no means SMALL..........not a huge club like a 58 or 59, but plenty stout.

Don't confuse it with the straight "60's" neck on some RI lesters...........much more meat to it.

[Ryguy]

If you haven't played a 30/60 neck, trust me, it's by no means SMALL..........not a huge club like a 58 or 59, but plenty stout.

Don't confuse it with the straight "60's" neck on some RI lesters...........much more meat to it.


absolutely

[Goldie295]

a friend, who is in a position to know, told me that gibson frets the fingerboard first and then glues it to the neck!!! and, incredibly, has been doing so for decades. UNBELIEVEABLE! he said he knows that for a fact. and it explains a lot of the fretting/weirdness issues i've had with a lot of gibbys over the years. i was just totally blown away when he told me that, and i bet it's a big reason they're factory plek'ing a lot of their instruments these days....

i'm primarily a fender player but my buds who only play gibsons consistently tell me that their qc and general craftsmanship has really taken a turn for the (much) worse lately. that they are not to be trusted with qc, which is a total crapshoot anymore. pity. they're not my words, but the words of others who've been burned badly

Gibson : 9 out of every 10 is a dog. But when its not, its not.

Strangely, I quite like that. Obviously they are not suited to mail order. Decent shops will try before they stock and they get the best ones. The balance go to MFriend, GCenter and the like.

Shopping around for a good'un is so much fun. I think that is why it took me so long to get a R6. Most of the ones I tried were dogs.

Cheers,
Phil

[Goldie295]

Another conclusion I have come to is that small (14 watt) amps just don't cut it with a seven peice band. I have never had a mid sized tweed, but think I need to get one. Even if you like playing softer, and use dynamics, etc., three horns and a hammond on stage will drown you out! On the other hand the blonde Tremolux I just sold was too damn loud, so I am still looking for the sweet spot amp that gets me there and gives it up when necessary. I hate shlepping stuff, so I am determined to find the perfect rig that has the tone I like, with onboard verb and trem.

I took a chance and bought a Swart here after trying one out a couple of months ago and loving it, so I am hoping that fits the bill (20-22 watts, great verb and tremolo, not too pricey).

Sorry for the long a**es post, I have just been ruminating over this after the last couple of night's gigs with my "little big band".

Ryan


Ryan,

Do try the new Vicky Regal II. I hear great things and you can swap the valves around to get different wattage levels. It can do 5-35 watts I believe.

See HERE (http://www.victoriaamp.com/visitor/show_model/14).

Cheers,
Phil

[Schwalbe]

Courtesy of http://www.twincitiesblues.com/

Mr. Watson Does the Hucklebuck.

http://www.youtube.com/watch?v=3MbgJShzb8c

[bluesjuke]

Originally Posted by Ryguy http://img.thegearpage.net/board/images/buttons/viewpost.gif (http://www.thegearpage.net/board/showthread.php?p=4621207#post4621207)

Another conclusion I have come to is that small (14 watt) amps just don't cut it with a seven peice band. I have never had a mid sized tweed, but think I need to get one. Even if you like playing softer, and use dynamics, etc., three horns and a hammond on stage will drown you out! On the other hand the blonde Tremolux I just sold was too damn loud, so I am still looking for the sweet spot amp that gets me there and gives it up when necessary. I hate shlepping stuff, so I am determined to find the perfect rig that has the tone I like, with onboard verb and trem.

I took a chance and bought a Swart here after trying one out a couple of months ago and loving it, so I am hoping that fits the bill (20-22 watts, great verb and tremolo, not too pricey).

Sorry for the long a**es post, I have just been ruminating over this after the last couple of night's gigs with my "little big band".

Ryan




Have you checked out a narrow panel Tweed Pro yet?
Sweet.

[jumpnblues]

["Have you checked out a narrow panel Tweed Pro yet?
Sweet."]


Good suggestion. Also check out a Louis Electric Tremblelux with a less efficient speaker like a Scumback M75 or H75. Mine breaks up at just the right volume for small to medium sized venues yet has decent headroom...and tone for miles. Highly recommend it. One drawback, they ain't cheap. But, for me, the tone's worth every cent. You can listen to one below.


Tom

[Dave Orban]

Gibson : 9 out of every 10 is a dog. But when its not, its not.

Strangely, I quite like that. Obviously they are not suited to mail order. Decent shops will try before they stock and they get the best ones. The balance go to MFriend, GCenter and the like.

Shopping around for a good'un is so much fun. I think that is why it took me so long to get a R6. Most of the ones I tried were dogs.

Cheers,
Phil
Post 2006, when they got the Plek in house, the guitars have been much more consistently good, IMO...

[Schwalbe]

Originally Posted by Ryguy http://img.thegearpage.net/board/images/buttons/viewpost.gif (http://www.thegearpage.net/board/showthread.php?p=4621207#post4621207)

Another conclusion I have come to is that small (14 watt) amps just don't cut it with a seven peice band. I have never had a mid sized tweed, but think I need to get one. Even if you like playing softer, and use dynamics, etc., three horns and a hammond on stage will drown you out! On the other hand the blonde Tremolux I just sold was too damn loud, so I am still looking for the sweet spot amp that gets me there and gives it up when necessary. I hate shlepping stuff, so I am determined to find the perfect rig that has the tone I like, with onboard verb and trem.

I took a chance and bought a Swart here after trying one out a couple of months ago and loving it, so I am hoping that fits the bill (20-22 watts, great verb and tremolo, not too pricey).

Sorry for the long a**es post, I have just been ruminating over this after the last couple of night's gigs with my "little big band".

Ryan




Have you checked out a narrow panel Tweed Pro yet?
Sweet.

Any speaker configuration of that amp is a beautiful thing.

[nc slim]

http://www.youtube.com/watch?v=Q3ePZdQke6k&feature=related

[jumpnblues]

Any speaker configuration of that amp is a beautiful thing.


Yep, it's on my list of "top 5 favorite amps of all time". I had one for 7 years with a Weber P15N (15A150). Tone to the bone. It's nice and (relatively) light and IMHO is just about the perfect amp for a blues guitarist. It might be a little loud for some small venues. But you could use an attenuator (they sound great with a Weber 50 watt MASS) or pedal. That's one of the things I really like about the Louis Electric Tremblelux...it breaks up at a low enough volume, especially with a less efficient speaker, to use in most small venues and still maintain great tone. But I can't deny my love for narrow panel tweed Pros.
The Tremblelux and Pro are actually very similar sounding amps with the Tremblelux having a little more mid emphasis, which you might expect with a 12" speaker vs a 15" speaker. And, as you might also expect, the Tremblelux is not as loud. But it has one of the sweetest top ends I've ever heard. You certainly won't go wrong with either amp and both are tone monsters. I would be eternally happy with either. The Tremblelux just fits my purposes a little better.


Tom

[bluesjuke]

My Pro has a reconed '50 P15N in it that is wonderful.
Putting in a 12AY7 in V1, like it's spec'd for, made it just right.
I've got 5881's in the output section too.

I get nice breakup at not too loud a volume and it's sweet sounding loud or soft.
Even in the very clean zone it crys and sings.
The lightweight is a plus. Way lighter than my Bassman.

[jumpnblues]

My Pro has a reconed '50 P15N in it that is wonderful.
Putting in a 12AY7 in V1, like it's spec'd for, made it just right.
I've got 5881's in the output section too.

I get nice breakup at not too loud a volume and it's sweet sounding loud or soft.
Even in the very clean zone it crys and sings.
The lightweight is a plus. Way lighter than my Bassman.


I think the narrow panel tweed Pro is perhaps one of the most underrated amps, ever. Like you said, it's much more "useable" than a tweed Bassman (heavier and too much power for most venues), which is also one of my all-time favs. But it's getting to the point in a lot of venues where if you turn up a tweed Bassman to break-up levels (they do sound soooo good at break-up) you'll be asked to turn back down. I think even a tweed Bandmaster could be too loud. That leaves the tweed
Pro or tweed Super (if you're mainly a tweed fan) and I personally like the tone of the Pro better. Anyway, my 2 cents.


Tom

[bluesjuke]

I'll vote for you if you vote for me Kenny!

Is it a deal?
I'll have my people call your...........

In the case of either of us winning let's agree to appoint the other to be the new Minister of Mojo.

[Goldie295]

I hope I can play like THIS (http://www.youtube.com/watch?v=xWSdidYAAQg&feature=related) when I grow up...

Cheers,
Phil

[mrkenny]

After a month of tweaking I finally got the H62 under control. Wow, what an inspirational guitar, really nails that big box blues thing. Any of you guy's play a H62, Espanada or Silvertone with P13's and feel that vibe?

[blueskalle]

I'm with you, mrkenny! I've got a H63 Espanada and it just smokes!!!!
Kalle

[Goldie295]

Not that I am fishing for congratulations (honest), I just wanted to say it is my birthday today and my very kind brother has managed to get me a copy of Sean Costello's latest cd We Can Get Together (very hard to download or buy in England). I am a very happy man !!

RIP Sean. We miss you.

Cheers,
Phil

[mrkenny]

Not that I am fishing for congratulations (honest), I just wanted to say it is my birthday today and my very kind brother has managed to get me a copy of Sean Costello's latest cd We Can Get Together (very hard to download or buy in England). I am a very happy man !!

RIP Sean. We miss you.

Cheers,
Phil

Happy Birthday, enjoy your cd its a good one.:banana

[KBR]

Happy Birthday, Phil.
We lost Stevie Ray 18 years ago, today.
Stevie did a lot for the Blues and Guitar in general.
I was lucky to be on a record with him.

RIP, Stevie and Sean.

[AndreasA]

Hope you can help me out with this one. I have a hard time keeping the sound level down in my band (voc/g + hca/g + b +dr).

The bass player and to some extent the drummer seems to be unable to adjust to the reality that the gigs we play (small clubs and bars, often weekdays) require a very moderate sound level. That or they simply don't get that voc+leads should always be on top of b+dr in a mix... ?!?

I try to keep it down during rehearsals by

1) not using anything louder than a tweed deluxe amp (with an effecient speaker though)

2) trying to arrange/play tunes so that there is space left in the music - frequency wise and in generel

3) trying to get the band to play dynamically (constantly being aware and adjusting to the voc/lead)

4) trying to get the band to play in a level that allows us to go up at least one gear

Beside this they are good players - just used to playing loud with only two levels of dynamics: one for verse and one for chorus. I used to be like that myself years ago. How do I manage to get them to understand that it is about dynamics, dynamics, dynamics and that sometimes less is more?

I can ask them polite (while tryin to explain the reason) to turn down, but to really hit the nail on the head, they have to get it.

Andreas

[TwoFeets]

Hope you can help me out with this one. I have a hard time keeping the sound level down in my band (voc/g + hca/g + b +dr).

The bass player and to some extent the drummer seems to be unable to adjust to the reality that the gigs we play (small clubs and bars, often weekdays) require a very moderate sound level. That or they simply don't get that voc+leads should always be on top of b+dr in a mix... ?!?

I try to keep it down during rehearsals by

1) not using anything louder than a tweed deluxe amp (with an effecient speaker though)

2) trying to arrange/play tunes so that there is space left in the music - frequency wise and in generel

3) trying to get the band to play dynamically (constantly being aware and adjusting to the voc/lead)

4) trying to get the band to play in a level that allows us to go up at least one gear

Beside this they are good players - just used to playing loud with only two levels of dynamics: one for verse and one for chorus. I used to be like that myself years ago. How do I manage to get them to understand that it is about dynamics, dynamics, dynamics and that sometimes less is more?

I can ask them polite (while tryin to explain the reason) to turn down, but to really hit the nail on the head, they have to get it.

Andreas

Have the drummer play with brushes or Blasticks or similar bundled sticks (in between sticks and brushes). Get the bass player a smaller rig because if the headroom is there, lots of guys feel like they have to use it.

[bluesjuke]

Happy Birthday, Phil.
We lost Stevie Ray 18 years ago, today.
Stevie did a lot for the Blues and Guitar in general.
I was lucky to be on a record with him.

RIP, Stevie and Sean.



Happy Birthday Phil!
You also share it with my wife.

SRV was born on my sister's birthday and passed on my wifes'.
There are a lot of favorite muscian's born/ passing on birthdays on family members including Rory Gallagher on mine.

[jimfog]

Have James Harman join you for a few gigs.......he's good at telling bass players who think they're Tim Bogert to STFU!

[Goldie295]

Thanks all for your wishes. Loving this SC cd. Hard Luck Woman kills.

Andreas, the bass player should be easy. In reality he is probably just competing with the drummer. Also, if he is turning up to counteract mush due to raised hollow stages, etc mention the Auralex Grammar (http://www.auralex.com/sound_isolation_gramma/sound_isolation_gramma.asp). It will do the job. It focuses the sound. I use one with my tweeds. They are great. They also really help to stop harpamps from feeding back. You cut through at lower volume because half the sound isn't going through the floor.

Regarding the drummer, I would say Feets advice is bang on. Also, you just need to keep having that 'light and shade' chat with him. If you tell him to turn down he won't. If you get lucky an audience member might mention he was loud. Also, if you get his bird along to the gig and he is louder than everyone else she will be embarrassed and tell him off. That works wonders. The main advice would be to get him there without actually telling him to play quieter as you will end up falling out. If no joy after a while, get someone else. At the end of the day, if he wants to play 'rock blues' it just isn't a good fit.

Cheers,
Phil

[KBR]

Sean Costello was a Great Singer and Guitarist, imho.
A Soulful Cat, no question.

[Strat-O]

:-(


http://www.youtube.com/watch?v=mJ5H8e8WapY

[mrkenny]

Hope you can help me out with this one. I have a hard time keeping the sound level down in my band (voc/g + hca/g + b +dr).

The bass player and to some extent the drummer seems to be unable to adjust to the reality that the gigs we play (small clubs and bars, often weekdays) require a very moderate sound level. That or they simply don't get that voc+leads should always be on top of b+dr in a mix... ?!?

I try to keep it down during rehearsals by

1) not using anything louder than a tweed deluxe amp (with an effecient speaker though)

2) trying to arrange/play tunes so that there is space left in the music - frequency wise and in generel

3) trying to get the band to play dynamically (constantly being aware and adjusting to the voc/lead)

4) trying to get the band to play in a level that allows us to go up at least one gear

Beside this they are good players - just used to playing loud with only two levels of dynamics: one for verse and one for chorus. I used to be like that myself years ago. How do I manage to get them to understand that it is about dynamics, dynamics, dynamics and that sometimes less is more?

I can ask them polite (while tryin to explain the reason) to turn down, but to really hit the nail on the head, they have to get it.

Andreas

I'm lucky in the volume department with guys that I make music, they understand it's about the song. Let the singer tell the story.
Try explaining to the guys that playing music is like a conversation, an exchange of ideas, no yelling.
As a front man use hand gestures to create dynamics while playing, it's your job and your in charge. If the volume is creaping up gesture to bring it down during the vocals. If a guitar solo is becoming a bit loud I'll motion to the rest of the players to bring things down, sometimes very quiet. This trick will cause the soloist to really stick out volume wise and most times they'll adjust. If there's no one to compete/support the loud solo their kind of left hanging out there alone. There's no wall of sound to hide behind.
If all else fails be the prick and tell the offender that no one wants to hear a loud ass guitar solo. The audience will thank you.
:horse

[bluesbreaker59]

Question, on BB King's "She's Dynamite", what is the chord he's using for the I??? Its not a 6 or a 13, nor a 9 or 7th chord... What is it??? This song has stumped me good. It seems to sound ok with a 6th chord, but not exactly right. Figured you all would know. While it doesn't have to be exact, it would be nice to sound a little closer.

I've got my first gig with my new band on Sunday, I'm the "band leader" for the first time ever, instead of just being a sideman. We hired one of the best frontmen in town to play harmonica and sing about 60% of the songs. Should be a great gig, and I set up a myspace for us, so if you wanna be our friend, hit me up, www.myspace.com/eldoradogroup (http://www.myspace.com/eldoradogroup)

The myspace is certainly not complete, no songs up yet, but I'll take care of that shortly. We put together the band in late July, so we're still booking gigs for next year, and trying to get a couple for this year.

[monstermike]

First finger on E string, twelfth fret. Middle finger on B string, thirteenth fret. Ring finger on G string, fourteenth fret.

That part isn't B.B. You can clearly hear two guitars during the piano solo (the guitar playing those chords in the verses switches to a bass line, and B.B. starts playing chords and fills). Rule of thumb - if the guitar and vocal are happening simultaneously, it's probably another guitar player. It's probably Calvin Newborn.

[S.W.Erdnase]

Cool! Mike is building me a Tyger (5F7 Bandmaster 3-10") and I drive up there to pick it up next weekend. Looking forward to seeing his shop and, of course, playing my new amp! Perhaps I'll make some clips with it, to post here with pics. I'm not a WC style player per se, I lean more toward the Anson/Mike Morgan school of blues guitar, but we do whip out a couple swinging tunes on occasion...Hollywood Fats covers, Kansas City, etc. If the drummer can swing, that is (hard to find one who can).

You are gonna LOVE that amp. Mike Clark can do no wrong...

[bluesbreaker59]

First finger on E string, twelfth fret. Middle finger on B string, thirteenth fret. Ring finger on G string, fourteenth fret.

That part isn't B.B. You can clearly hear two guitars during the piano solo (the guitar playing those chords in the verses switches to a bass line, and B.B. starts playing chords and fills). Rule of thumb - if the guitar and vocal are happening simultaneously, it's probably another guitar player. It's probably Calvin Newborn.

Just a partial of an E chord??? I was thinking the version I had on the "Original Greatest Hits" Disc 1 the song was in G (could've been B flat, now that I think of it) (EDIT)Ok, I'm really retarted..., that's not a partial E chord... I'll try that, thank you Mike, I shouldn't have doubted you. At any rate I'll be listening as soon as I'm home with guitar in hand again. (EDIT)

I'm sorry I should've known that wasn't BB, playing that little chord riff.

I knew the Fats version was in E, but they also changed the tempo to more of a "lumpdy dump" feel.

[bluesjuke]

mrkenny-
"Try explaining to the guys that playing music is like a conversation, an exchange of ideas, no yelling."



+1, right to the point!

[Schwalbe]

I'm lucky in the volume department with guys that I make music, they understand it's about the song. Let the singer tell the story.
Try explaining to the guys that playing music is like a conversation, an exchange of ideas, no yelling.
As a front man use hand gestures to create dynamics while playing, it's your job and your in charge. If the volume is creaping up gesture to bring it down during the vocals. If a guitar solo is becoming a bit loud I'll motion to the rest of the players to bring things down, sometimes very quiet. This trick will cause the soloist to really stick out volume wise and most times they'll adjust. If there's no one to compete/support the loud solo their kind of left hanging out there alone. There's no wall of sound to hide behind.
If all else fails be the prick and tell the offender that no one wants to hear a loud ass guitar solo. The audience will thank you.
:horse

+1000000000
Or a loud ass bass solo during a guitar solo.
Sometimes, like last Friday night, you can just scowl at the offender and he'll STFU.

[fretshop]

+1000000000
Or a loud ass bass solo during a guitar solo.
Sometimes, like last Friday night, you can just scowl at the offender and he'll STFU.

We've been through three house bands and several visits by the boys in blue during sets at our club....due to volume problems. It's exasperating. We're about to re-think the format of regular gigs, AND the open mic night. Rich Sussman and I decided to get up for a set last night and set the blues Juniors volume back from maximum to Vol:3, Master 3. We chose songs with lots of changes and dynamics, then threw in some Jazz and Blues standards and nstrumentals: we tried to make a point and inspire the herd (and I use the term lightly)...the point was, and is still, IMHO AND Rich's that striving for good, balanced presentation is a tough learning curve...and should start during a performer's formative stages of development....most folks just don't get it.

Tonight: Big Mike Devita & the Perpetrators.....sensational band. Big Mike is a superior harp player and runs a very talented unit.

SuSudia & company...Johnny boy, hope to see ya tonight.

[Scott Miller]

When things got out of hand volume-wise at RJ's jam, he used to bring out chairs for everyone to sit in. It totally freaked some people out, but on the other hand, the change in dynamics brought the volume down.

[THINSOCKS]

Just my opinion, but I think the best way to deal with louder band members on stage is to just simply tell them they are to loud. It seems that invoking any other sort of passive aggressive behavior just breeds more issues. If the person takes offense then they are probably not worth dealing with again in the future.

[mr_jlemko]

When things got out of hand volume-wise at RJ's jam, he used to bring out chairs for everyone to sit in. It totally freaked some people out, but on the other hand, the change in dynamics brought the volume down.

I used to really dig playing at those jams when he had the chairs out. As you mentioned, it changed the whole vibe and made it a lot more down home. Some people can't hang with that. It messes with their chi.

[THINSOCKS]

I thought some of you WCB Harmony H-44 owners may dig this. I started building this guitar back in early '07 and just recently got around to finishing it up (Well, close to it). I think the pickguard is proof I have bad taste.

http://farm4.static.flickr.com/3123/2816205488_1a27dcf339.jpg

[mrkenny]

I thought some of you WCB Harmony H-44 owners may dig this. I started building this guitar back in early '07 and just recently got around to finishing it up (Well, close to it). I think the pickguard is proof I have bad taste.

http://farm4.static.flickr.com/3123/2816205488_1a27dcf339.jpg

Very flashy, I dig it! Especially the pickuard. Lets us know how it sounds and feels when you take it for a spin. :dude

[bluesjuke]

That's gotta have a cool outcome!

http://farm4.static.flickr.com/3123/2816205488_1a27dcf339.jpg

[jumpnblues]

I can just hear it now...and what I hear is sweeeeet! Very cool looking. I love red and tortoise. :banana :dude:AOK


Tom

[glblues]

I thought some of you WCB Harmony H-44 owners may dig this. I started building this guitar back in early '07 and just recently got around to finishing it up (Well, close to it). I think the pickguard is proof I have bad taste.

http://farm4.static.flickr.com/3123/2816205488_1a27dcf339.jpg

i am so jealous :(

[michael30]

I started building this guitar back in early '07 and just recently got around to finishing it up (Well, close to it).


Couldn't decide if you wanted a Stratotone or a Thin Twin? :p

Seriously, that looks cool!

[valcotone]

I thought some of you WCB Harmony H-44 owners may dig this. I started building this guitar back in early '07 and just recently got around to finishing it up (Well, close to it). I think the pickguard is proof I have bad taste.


Holy smokes.... I can't wait to see the threads you'll be wearing to go with that guitar! haha...

Seriously though, nice job Frank!

[Strat-O]

I thought some of you WCB Harmony H-44 owners may dig this. I started building this guitar back in early '07 and just recently got around to finishing it up (Well, close to it). I think the pickguard is proof I have bad taste.

http://farm4.static.flickr.com/3123/2816205488_1a27dcf339.jpg

Very Cool. :)

[THINSOCKS]

I strung the guitar up last night and played it for a few minutes. It seems promising so far, but I think that has more to do with the original DeArmond pickups then anything I did. Although, I did add a neck angle and it does make the guitar play better up the neck then the originals (good thinking George). It's funny, I took that picture in the back alley behind my apartment and while I was back there a homeless guy came up to me and asked if I had picked the guitar out of the trash dumpster. Ha-Ha.

[Poppa Stoppa]

I strung the guitar up last night and played it for a few minutes. It seems promising so far, but I think that has more to do with the original DeArmond pickups then anything I did. Although, I did add a neck angle and it does make the guitar play better up the neck then the originals (good thinking George). It's funny, I took that picture in the back alley behind my apartment and while I was back there a homeless guy came up to me and asked if I had picked the guitar out of the trash dumpster. Ha-Ha. Hey socks, great looking guitar! Bold colours! Good place to put the switch. Is the middle position in phase or out of phase? Great idea to give the neck some angle too. Are those original 3.5k hershey bars? What value pots did you go for?

[THINSOCKS]

Hey socks, great looking guitar! Bold colours! Good place to put the switch. Is the middle position in phase or out of phase? Great idea to give the neck some angle too. Are those original 3.5k hershey bars? What value pots did you go for?

The middle is just wired up normal (neck/bridge). Yeah, the pickups are original DeArmonds. They came out of a later stratotone (along with the 50k pots & tailpiece I used). Honestly, It just didn't make sense to build the guitar without those pickups. Both pickups are fully height adjustable (the rear one sits on a wooden spacer so it can get closer to the strings). The neck angle and truss-rod were ideas George Goumas had when I first started talking to him about building this guitar. The rest of the guitar is pretty close to the originals... size/shape, scale, poplar, brazilian rosewood, neck-thru, big neck, etc.

[mrkenny]

I strung the guitar up last night and played it for a few minutes. It seems promising so far, but I think that has more to do with the original DeArmond pickups then anything I did. Although, I did add a neck angle and it does make the guitar play better up the neck then the originals (good thinking George). It's funny, I took that picture in the back alley behind my apartment and while I was back there a homeless guy came up to me and asked if I had picked the guitar out of the trash dumpster. Ha-Ha.

Ahhh a new color "dumpster red".

[Stringmaster]

Which are the most desireable Harmony H62 archtop variants--Blonde, Burst, Black, Thick Body, Thin Body, etc? I understand there may be varitions in the type of wood used too for the various finishes.
Thanks

[Sweetfinger]

Dunno if there is a thin body version of the H-62. Tone-wise, most players seem to like the non-maple version, which would be sunburst, or black.

[Schwalbe]

"dumpster red". Was I in a band with him?

[mrkenny]

Dunno if there is a thin body version of the H-62. Tone-wise, most players seem to like the non-maple version, which would be sunburst, or black.

My H62 is maple plywood with a curly maple back. I'm a novice when it comes to the different variations, laminate vs solid wood, I'd be interested in hearing some opinons on the tonal differences. I had wondered about fingerboard material as well. Mine had a dark stained maple board or something similar. I replaced the fingeboard with old growth Brazilian Rosewood board. I am aware of H62's from Harmony and I believe the H63 is an Espanada and I think there's a variant from Silvertone, perhaps built by Harmony, black without metal trim.

[michael30]

Dunno if there is a thin body version of the H-62.

There are two different body thicknesses, neither of which is as thin as a Rocket or a Meteor.

[Goldie295]

Recent shot of the Les Paul from a gig in Little Kimble. When I first put the address into my SatNav it said Little Kimble was a delta bluesman who died in mysterious circumstances in 1934, but I can assure you it is a little chocolate box village in Buckinghamshire.

It was a great gig with about 4/500 people all getting down to the blues. And, I got paid the UK equivalent of $250 for two 45min sets !! No wonder I'm smiling ;)

http://www.blasdale.com/pictures/2008/Robin50/slides/IMG_9301.JPG

[AndreasA]

Hi all, thanks a lot for your suggestions on dealing with my loud bass player. I tried to tell them the ting about the music being a conversation and about each tune being a story to be told. We had a gig last Saturday and guess what... it worked! First gig with these guys where I didn't have to "shout" myself to get the story through. It was a big succes and we were straight away booked for another gig there.


Talking about James Harman, I have had the great pleasure to watch him two times the last week here in Copenhagen. First with a regional band he has just produced a record for, yesterday doing a duo gig with Gene Taylor. Both times amazing...

[bluesjuke]

Glad that worked out well.
Hope you guys continue like this and the "converstation" will get more interesting.

[blueskalle]

Hey AndreasA!
Whats the name of your band?
I know Peter Nande and Ronnie Boysen a little- they are superb players and Peter is an excellent songwriter and a gifted singer.
Kalle

[saggybottom]

There is a new William Clarke CD of old unreleased cuts on http://www.pacificblues.com/ home page. Sounds great!

[jumpnblues]

Went back and started listening to my Otis Redding records. Lord have mercy I forgot how sweet that man's voice was and the great, great, songs he sang. He can make my eyes tear up quicker than any other singer..."That's How Strong My Love Is", "I've Got Dreams To Remember", "Fa Fa Fa Fa Fa", "Try A Little Tenderness", "I've Been Lovin' You Too Long", "The Happy Song", "You Left The Water Runnin'"...simply incredible songs sung like no one else could sing them (although Delbert McClinton does a great job on "I've Got Dreams To Remember").
I remember when I was in an eight piece R&B band 40 years ago. I was a senior in high school and deeply into "soul music"...ate, slept, and breathed it. When I heard of Otis' death I cried. The only time I wept after the death of a favorite musician. Our entire band was completely shattered. He was our number one musical hero. Listening to Otis today brought all those memories streaming back. My goodness, what a soulful singer?!!


Tom

[bluesjuke]

There is a new William Clarke CD of old unreleased cuts on http://www.pacificblues.com/ home page. Sounds great!


Thanks for the heads up and link.

RJ Mischo's CD sounds good too;
http://www.pacificblues.com/index.php?main_page=product_info&products_id=441

[AndreasA]

Hey AndreasA!
Whats the name of your band?
I know Peter Nande and Ronnie Boysen a little- they are superb players and Peter is an excellent songwriter and a gifted singer.
Kalle

Hi Kalle, it is a brand new band I have started. We have had a couple of gigs the last months but haven't made a webpage or a decent demo yet. The band is called Tutweiler. If you find our myspace page you will see that we have yet no friends beside ourselves. :)

I will let you know when we have some kind of a demo up - 'till then you can take a look at my own myspace site if you want: www.myspace.com/andreasandersen (http://www.myspace.com/andreasandersen) . There is some rough demo and a video from a MOJO jam (on the left, scroll down). Check out my freinds "The Fried Okra Band". They play some bad northern Mississippi blues. Actually one of them plays g/hca in my band.

Andreas

[blueskalle]

That sounds cool!
Kalle

[GOLDENSTRAT]

AndreasA "The band is called Tutweiler." Great, you named your band after Thinsocks???? The added mass to his ego will surely cause California to slide in to the ocean.
Purp, thanks for the tip on Tiny Grimes " Blues Groove". Very tasty, more T-Bone style licks than I expected. fred

[hahpin]

There is a new William Clarke CD of old unreleased cuts on http://www.pacificblues.com/ home page. Sounds great!

I've been listening to this for a few months now. It's great that Jeanette is releasing all of this Wm. Clarke stuff. Fun to listen to him grow as a musician.

[Brian Scherzer]

Our tech team has informed me that the slowness we have been experiencing on TGP appears to be caused by some of the huge threads we have on the site. We are closing the mega-threads and I am requesting that the thread starters begin a new thread....sort of a "xxxxx thread, Part II". Sorry to do this, but if the huge threads are the thing that is causing TGP to become so sluggish at times, we need to break the threads into Part I, Part II, etc. We'll see if this works. Again, our apologies. If it turns out that the mega-threads are not the cause, we'll unlock them and merge the other parts back together.

Thanks.........Brian