Discussion in 'The Sound Hound Lounge' started by daacrusher2001, May 31, 2017.
I suspect it will be lent out to be played at various festivals, and charity events.
I know you dont need the gratitude, but I always appreciate when you share your insight and experiences. Thanks for responding.
The guy who bought it is a huge Deadhead, said he plans on playing it, loaning it out, and that he'll loan it to the Garcia Family anytime they want it.
There is a really cool podcast I just listened to, it's mainly about bass, but it talks about the early days of Alembic. The Podcast is through the Fretboard Journal, has Rick Turner, Jack Casady Dan Schwarz, almost 2 hours long. They don't directly talk about Wolf, but there are a few Grateful Dead stories in it, and also they talk about the neck through stuff, and all the electronics that were experimented with.
I stand corrected.
(this is the encore so I guess Chris was playing it)
Other clips and full download:
Wow! Coming from you that is one helluvan endorsement!!
I was going to ask how it compared to your P-90 Goldtop. Thanks for answering it before I even asked.
Wolf crushed my entire woodpile, and you know I'm holding some good stuff.
I don't think people appreciate how much better some of the truly top-shelf stuff is.
I know I didn't.
I literally couldn't pick up any of my guitars for at least a week.
And here it is with Steve! That is some killer clean tone.
Forget Wolf, it's that secret box to his left.
What is it?
Damn, this is kind of blowing my mind. I've read some of thoughts on Wolf before but was unaware of this neck/body reinforcement thing. I can just imagine it though and it has to be a joy to play. I've always noticed how much the middle and upper registers on Wolf sang even with a bright pushed clean sound. Makes sense now, thanks for sharing.
I've always entertained the idea of getting a Wolf like guitar but every neck-through I've played has left me slightly cold. I actually really dig the way they would emphasize the fundamental and sustained but coming from a Strat/Tele bolt-on background I somehow really missed the mash of overtones (character is maybe a better word?) you get with bolt-on guitars plus the quickness and personality of the attack.
Sounds like Wolf somehow wound up with the optimum balance in these areas. There is a ton of character in the attack on Wolf and it sings. Magic guitar for a magic man!
I'm curious if the new Walker 'Heavy' you have was an attempt to get Wolf-ish? But then you say Wolf isn't all that heavy. Either way, I thought you guys nailed a new formula with the Heavy. It's got amazing attack and all those other qualities you hear in a great heavy laminate guitar in a loud band.
I find this very interesting and thank you for your sharing!
The neck-thru thing is tricky, there's so much stiffness and rigidity in the basic design that there's no way to get them to behave like a bolt-on or set neck.
I'm reasonably convinced Garcia adopted the extreme relief strategy with the later Irwin's to address that "overly efficient" fundamental presentation.
I can't say exactly why it happens, but as the relief increases and the action goes up on the neck-thru, you get a little closer to a normal plucked string sound, "plunk", relative to the same guitar with the action low and the neck straight.
That's how it seems on mine anyway.
Interesting, it seems to
make sense to me about the rigidity factor and the steps taken to get back some of that character of a less rigid neck joint/guitar. Plus, a guitar with high action and lots of relief is certainly expressive and fun to play if you can get the intonation to behave which seems to be accomplished by intonating the 12th fret and above slightly flat? I like that idea because when getting expressive with an upper register note you won't be wildly sharp the whole time.
hey, I was right. Woot. what do I win?
Seeing as how last month was the 40th anniversary of the great May 77 shows, with new remastered material released, I have been listening to a lot of Jerry and Wolf. As good as that is, I think 2/3/78 may be tops for that era. I am heavily biased against 1978, partially because the wheels seemed to start falling off, and also because of Bob's slide playing, so I generally avoid it. In spite of myself I stumbled on Dicks picks 18 last week. It is is an amazing recording, with a bit of another night thrown in, but here it is on the archive for a quick listen. Jerry/Wolf sound like a hot knife thru butter the entire way through. There is a treat in almost every note and phrase he plays.
They brought a harpsichord on this show, huh?
sounds very close to Jerry's ~73-74 JGB sounds. Playing on the neck pickup probably?
78 is full of truly great shows man. And I hear a marked difference in Jerrys playing between Wolf and the TB-500. Not just in the tone but how he played.
Care to expand on that? As in, how he played differently. I find that era great as well. I was under the impression that the May '77 shows was the TB-500 and he got back into Wolf that fall?
That was sweet playing on After Midnight, but I'm a JJ Cale tragic.
I have a really nice neck-through Japanese ESP, with mahogany wings, quilted maple cap, JB/Jazz wiht coli tap, ebony fretboard. The single coil tones on that snap and plunk to produce way better Strat tones than my recent;y acquired Mexi Strat does.
It has never occurred to me to think of neck-through guitars as dull, cos that's the only one i've spent any time with.
I would postulate that the combination of good maple neck, mahogany top and ebony fretboard overcomes any design limitations.
I have a new neck-through guitar coming, which will be built at WMI, with maple neck, ebony, but just a maple veneer. It has low wind pups which will also tap. It will be interesting to hear the differences.