David Lindley "That Girl Could Sing" Tone...

Discussion in 'Effects, Pedals, Strings & Things' started by DFBurst, Jun 16, 2008.

  1. DFBurst

    DFBurst Supporting Member

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    ...anyone know what guitar he used on Jackson Browne's album...

    I read as much as I could about the recording technique.

    Thanks...

    THE STORY BEHIND THE SOUND
    Greg Ladanyi Recording Jackson Browne's Hold Out
    Engineer Greg Ladanyi's work with Jackson Browne and his guitarist David Lindley are some of the best examples of guitar recording done in the past 30 years. Lindley's biting, beautiful tone was expertly captured on Browne's Hold Out album, released on the Asylum label in 1980. In particular, Ladanyi's work on the single “Boulevard,” which reached Number 19 in Billboard's Hot 100, created a signature guitar sound that imprinted this song into the memories of a generation of music lovers. Hold Out was done at Record One studios in Sherman Oaks, Calif., on an API console. Browne's early bands featured such studio stalwarts as Russ Kunkel (drums), Danny Kortchmar (guitar), Lindley, Craig Doerge (keys) and Bob Glaub (bass). The band recorded as a unit and solos were added later — that is, if Lindley didn't nail it on the tracking date, which did happen.

    Ladanyi captured Lindley's Vox amplifier using a Shure SM57 up close on the cabinet and a Neumann U67 about five feet back, and recorded both to one track. In addition, Ladanyi recorded a room mic to a second track. To get the full tone and stereo spread heard on the record, he used four delays, set at approximately 16 ms, 30 ms, 45 ms and 65 ms, then panned these across the stereo field and recorded them to a stereo pair of tracks. In general, rather than wait until the mix to perform this trick, Ladanyi's approach is to create the sound of the record as he's making it and commit it to tape.

    When working with Lindley, who is renowned for his large collection of various guitars and amps, Ladanyi did little to change the sound once Lindley dialed it in for any particular song. He says that the guitar sound on the track “That Girl Could Sing” (also from Hold Out) required minimal processing, and the tone of the record is pretty true to what came out of Lindley's amp.
    — Kevin Becka
     
  2. hb_nz

    hb_nz Member

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    Most likely it would've been a supro or national lap steel for that track
     
  3. Snottyboy

    Snottyboy Supporting Member

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    I have always been awe-struck by that tone. Never heard anything like it before or since.
     
  4. DFBurst

    DFBurst Supporting Member

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    Yeah, it is great tone.

    Thanks for the input....
     
  5. Curly

    Curly Member

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    offhand I can't recall the lead tone on that one, but I can for the whole 'Late for the Sky' disc.
     
  6. cochese

    cochese Supporting Member

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    As I recall David used a Bakelite Rickenbacker Lap Steel B6. I have one and they are really cool sounding lap steels. Mine is a pre-war 1930's.
     
  7. trower

    trower Supporting Member

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    This Lindley tone has always blown me away..reminiscent of Brian May's Killer Queen solo tone. I would never look at Vox's the same way after that one. Not to surprised to read it was a Vox.
     
    Last edited: Jun 16, 2008
  8. pepperco

    pepperco Supporting Member

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    I can't believe I am remembering this....

    But I remember from a Guitar Player cover story interview
    with David Lindley (which I must have read 50 times). He said
    the solo sound on That Girl Could Sing was "a broken Fairchild
    Limiter on it's last legs"

    Which means to me, an contributing factor to the tone was
    a funky sounding compressor, probably at the mixing desk.
     
  9. jimfog

    jimfog Senior Member

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    Ha...I was just gonna post that!

    I believe he also said the tube in it was glowing blue, just ready to give out..........

    What an awesome sound and more importantly, part........

    Jackson's much-maligned "Lawyers in Love" disc also has a bunch of great guitar sounds and arrangements, courtesy of Rick Vito.......
     
  10. fatback

    fatback Member

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    cool thread.


    Lindley is one of those true originals that has a sound and syle that just jumps out at you out from the speakers. His sense of humor and phrasing seem to come from the same beautifully warped place.


    :BEER
     
  11. KRosser

    KRosser Member

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    Exactly - I was just going to mention that article....

    "That Girl Could Sing" - wow...I was stuck dead in my tracks the first time I heard that...

    How about that chorused solo guitar part that begins "Call It A Loan"? Just stunning...
     
  12. jpagey

    jpagey Supporting Member

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    Great song. Great tone.
     
  13. Dave Orban

    Dave Orban Silver Supporting Member

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    I love Lindley's work with Browne!
     
  14. DFBurst

    DFBurst Supporting Member

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    The tone on That Girl...is so biting and crisp. It seems like he is trying to hold back an 800# gorilla...do you know what I mean. He has this super clean guitar that he is playing through a dimed Vox..

    It is one of my favorite examples of a player who is in complete control. The whole rig is on the verge of feeding back and blowing up in his face, and he keeps trying to tame it and push it back.
     
  15. DonneR

    DonneR Gold Supporting Member

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    yupper , Runnin on empty still kills me and my slide tone is completely attributable to him, JoeWalsh and Lowell George

    theres a really nice Lindley weisenborn solo on an early Shawn Colvin track that escapes me at the moment also


    but this is will give you a look into Dave .....

    major kudos fo runnin a Teisco into a Dumble !!

    http://www.youtube.com/watch?v=rpebrtsSSYY
     
  16. dsl

    dsl Member

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    Is it "Tenderness on the Block" from Fat City?

    Written by Jackson Browne/Warren Zevon
    Also, David Lindley's "El Rayo-X" & "Win This Record" are great albums with excellent playing :band
     
  17. ibobunot

    ibobunot Member

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  18. fullerplast

    fullerplast Senior Member

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    I am surprised to hear that Lindley used a Vox on that track...only because I've followed his career a long time and never heard about him using one. Old Supros, tweed Deluxes, and later Dumbles....sure, but not Voxes. Now I'm wondering which one! I'd guess either an AC10 or AC15 with EF86. (I can't see Lindley cranking an AC30 in the studio enough to get it to sing like that....but who knows?) I do have an old AC10 that does Lindley tone real well, so that's what I'm guessing.
     
  19. DonneR

    DonneR Gold Supporting Member

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    yeah that sounds right- thats still some of my favorite music

    if nothing else Lindley is an original and I always dig that in musicians
     
  20. heykenny

    heykenny Member

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    So great to see a David Lindley thread! He is absolutely one of the most soulful and toneful players I've ever seen. I first saw him playing with Jackson Browne on the Running On Empty tour. He played some lap steel solos that just blew me away. Also got to see him a bunch of times with El-Rayo-X and a few times acoustically with a percussionist (whose name escapes me at the moment). Excellent every time. Funny as hell too.

    If anyone reading this thread isn't familiar with David Lindley - start by buying any of the early Jackson Browne albums with him (For Everyman, Late For The Sky, and The Pretender my personal faves), and the first El-Rayo-X record. Killer.
     

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