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JohnnyB

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Posts posted by JohnnyB

  1. On 7/16/2019 at 11:17 AM, hamerhead said:

    Yeah, they're great.

    DSCN5658_zps74ojwqlb.jpg

    Playable in tune anywhere up the neck.

    God I've sold soooo many good guitars........:(

    My first Hamer-USA was a vintage orange Eclipse-12 I bought used at a vintage guitar store in Seattle. It was pretty easy to play and produce convincing jangle. It required patience, but I found it surprisingly easy to restring. I liked it but  sold it in late 1999 to get a freshly minted Hamer Anniversary.

     

  2. On 6/8/2020 at 12:55 PM, JohnnyB said:

    4 guitars, 4 basses, a mandolin, banjo, and ukelele. I used to play mandolin a lot, but I've never really bonded with the banjo or uke. Probably because they were free and the music didn't come as naturally to me as the mandolin.

    I really miss a couple of basses, that I consigned when the band broke up: a thunderous G&L ASAT fretless semihollow with massive MFD humbuckers, ebony fingerboard with up charge fretlines, orange translucent finish over figured ash, contrasting natural wood binding, and matching headstock,:

    image.png   image.png

     

    ...  plus an orange Gretsch Electromatic G5123 hollowbody bass with Thunder'tron pickups that sang like a basso profundo songbird.
    I really miss that one. It had a bounce to its attack, and really helped drive the music. It was a 32' scale, which made string-to-string tone quality very consistent.

    It was a limited edition arrangement between Gretsch and GC (only one unit per store) and listed at $899, but I got it during a Father's Day sale at GC for $560. Here's one on Reverb for $1,269.64 + $177.40 shipping (sigh):

    b8roheuqmlzsfnwbiiov.jpg

    I forgot to add:

    I  didn't even see any consignment money from Seattle's now-defunct "Guitarville" for these gorgeous and gorgeous-sounding basses. It turned out that the owner had moved his shop and hired some contractors to modify the interior to add teaching studios. The contractors evidently absconded with the basses and Guitarville's owner moved to Hawaii.

     

  3. I'm sitting at the computer reading some news, checking email and Facebook, and figured I could use some music to comb the kinks and gnarlies out of my brain waves.

    Fortunately, I chose this LP wisely:

    This is Metheny in pure acoustic solo mode with a range of guitar-based string instruments. The album opens with Simon & Garfunkel's "Sounds of Silence" played on Metheny's bespoke "Pikasso" 42-string guitar:

    spacer.png

    He also plays on a nylon string classical and an acoustic baritone guitar:

    spacer.png

    These tracks are amazing. He has an incredible way of creating instrumental covers of vocal songs that convey the emotions of the original compositions. His renditions took me through a range of emotions from nostalgia to melancholy to personal reflection to jubilation to a peaceful calm.

    And isn't just about everything we seek from good music? Pat conveyed it all in a 2-LP set.

    It ain't death metal, but I highly recommend it when you get into an acoustical mood.

    Technical notes: A few months ago I bought an Audio Technica low-output moving coil cartridge (LOMC). I've used it several times but I think this is the first time I used that cartridge with this album. It was a revelation. I could sense each note form from the metallic tone of the plucked string to the transfer of vibration to the guitar body to the swell of the air compressing and escaping to deliver the resonant aspect of the resulting tone.

    It reminds me of why I like well-tuned hi-rez audio; it delivers the emotional content of the music.

    • Thanks 1
  4. On 9/8/2020 at 12:42 AM, Disturber said:

    I just moved to an apartment in the central of town. Will only stay here for six to 12 months. So I put all my CD's and vinyl in storage for the time being.

    I have my stereosystem here and Spotify sounds good. But this system is high end so every nuance in the music is pretty much audiable. Spotify and mp3's does sound a bit lifeless compared to CD's and vinyl. So I was thinking I should go with Tidal for until I get my records, and life, back in order. 

    The question (paging @JohnnyB) is, will the built in DAC in my Lenovo laptop be sufficient and do lossless streaming justice? Or is it just pearl for svines and I can just continue to use Spotify, or buy a separate DAC to get the best out of Tidal? I rather not spend money on a DAC right now...... 😕

    Meridian Audio of England introduced a decoding scheme in 2015 called MQA (Master Quality Authenticated). It introduces mirror-image frequency curves to compensate for the very steep filter slopes during digital recordings (which screws up the phase relations between various voices and instruments, and restores those drastic slopes into gentler, more natural and musical decoding slopes that neutralizes that edgy "digital sound." I've heard a laptop-based presentation of MQA-processed  playback, and it was wonderful, with authentic-sounding timbres and the authentic-sounding imaging and soundstage  usually missing from raw digital.

    When MQA was introduced, MQA-ready DACs were scarce and expensive, usually going for $1,000 or more. But now, audio able company, AudioQuest, makes spacer.png

    USB DACs that decode MQA. They are available in their Black, Red, and Cobalt models, with the Cobalt at the top-of-the line for a relatively low $299.95 USD.

    spacer.png

    MQA-encoded files are available on Tidal.

    There are lots of high-end reviews about MQA and performance of the Dragonfly DACs.

    https://www.stereophile.com/content/meridians-mqa-one-listeners-impression.

    Stereophile Dragonfly Cobalt review by Stereophile's former chief editor.

    I first listened to vinyl from 1972 (first stereo) until 1987 (when my turntable broke and I bought a CD player). Then in 2007 I bought a new turntable and went back to (mostly) vintage vinyl for 13 years and counting.

    If I decided to downsize and switch to streaming, this MQA/Dragonfly/Tidal combo is what I'd go for.

    Want to listen through your amp and speakers instead of headphones?

    Get a pair of these that fit your budget. Plug the mini-plug into the Dragonfly and the RCA interconnects into your preamp or integrated amp.

    g_PGICPM3R_FRONT2.jpg($14.950 or pgicca3r_1.jpg ($49.95--$99.95)

     

    • Like 4
  5. Yesterday I listened to Lou Rawls' first album, Stormy Monday, recorded and released in 1962 backed by the jazz pianist Les McCann and his trio. Lou and Les became acquainted with each other when they were both performing in the jazz club scene in Hollywood in the late '50s.

    They finally figured out  a way to record together by having a late night/early morning session at the Capitol Records Building in Hollywood after their club gigs.

    spacer.png

    For me, this is one of those "treasure albums," where a jazz-oriented singer gets paired with some charismatic jazz instrumentalists before the corporate suits get hold of them and turn them into an easy listening act. They did it to Nat King Cole, Diana Krall, and many others. Tony Bennett was a kick-ass jazz vocalist when he first started (still is). He, Sinatra, Rosemary Clooney, Doris Day and others chafed under Mitch Miller's heavy-handed treacly middle-of-the-road production at Columbia and arrangement style and changed labels in desperation.

    This album is perfect as is, and shows what happens when talented people get together to make music without interference.

     

  6. I don't have direct experience with Counterpoint products, but they made several preamp models over time and the SA-5000 was considered the classic one. It combines a phono preamp with a line-level preamp. I've only recently discovered that if you play low-output moving coil cartridges, a good line stage helps dial in the volume you want without adding noise, which often happens if you're dealing with a low-level signal.

    The SA-5000 was $3600 when new.

    • Like 2
  7. On 7/27/2020 at 1:12 PM, Biz Prof said:

    I did recording back in '94 with an ASAT Special equipped with MFD soapbars. They were, admittedly, somewhat hot, but they sounded really nice. Just a bit milder than a good set of P-90s. The build quality of that guitar, FWIW, was superior to anything shipping out of Corona that I could pull off the rack at a guitar store during that time.  That was the era and experience that sold me on the superiority of G&L or EBMM over Fender and likewise, Hamer over Gibson.

    I had a used ASAT Special for awhile. It was Lake Placid blue with MOTO pickguard, stock SC soapbar MFDs, and user-added copper foil lining in the control cavity. I had a Gibson ES-335 Studio at home, but once I got the ASAT home, it was all that I played until I got rid of the ES-335 studio. There were several things I liked about that ASAT; it had a clear, articulate tone and presentation, and for a single-coil pickup it had quite a bit of output, which made it fun plugged into vintage amps. I didn't need no stinkin' booster pedal. The ASAT had the balls to light up a 6V6-powered Silvertone tube amp with some growly, barky distortion. I also liked its ergonomics. Sure, the ASAT was a bit of a slab, without contours or belly cut, but it was balanced, hung on my shoulder comfortably, and the strumming area and fingerboard were naturally accessible.

    I also played it into a TopHat Club Deluxe, a handwired 6V6-powered handwired tube amp. It interacted really well with that. I preferred honest  overload over a buzzy-bee boost stage. It was good as a big single-coil slab guitar, but for subtlety I got an ASAT Classic Semi-hollow; It had a lush, rich sound, played clean it had nice jazz tones, and it could do a credible, more comfortable impersonation of an ES-335 of all things. I loved it for jazz, blues, & R&B.

    When trying to find a good match between guitar, pickups, pots, cables, guitar and amp settings, there are many possible combinations, and the pickups may not be at fault. I have a Hamer Newport, and used to have a Mesa/Boogie DC-10 100w 2x12 combo. I got it at a pawnshop for $299; it had a bluebook value of around $1K. It was a match made in heaven for the Newport. I never got it to sound right with my TopHat; it was too mid-rangey. My philosophy is that the signal path of an electric guitar rig is almost as complicated as a high-resolution home stereo or surround-sound system, and those can demand some time, effort, and patience to sound satisfactory. The combinations are almost infinite. So my point here is to not scapegoat one component. Twiddle with the knobs--both on the guitar and the amplifier. Swap some cables in and out  if you've got 'em. Try some nickel-plated strings, maybe even flatwounds or coated strings. Fiddling with the tone controls, whether on the guitar or the amp can have a noticeable influence.

    I had a G&L Legacy Special. It had an ash body and maple single-layer neck and fretboard. It also had Strat-sized dual-blade humbuckers. You'd think that humbuckers would have ruined its Strat/Legacy tone. But no, that wasn't the case. As others mentioned on this thread, I turned down the passive bass knob and got a classic nasal, "Sultans of Swintg" Strat sound. You would have never guessed I was playing humbuckers. Yet, if I dialed in a humbucker sound, played it back-to-back against a Gibson Lucille, and it showed Lucille the door. So those on-guitar tone controls can be pretty influential.

    • Like 2
  8. Friday I'd been a bit sluggish and needed to straighten up the kitchen so I put on an album that featured a single I used to listen to on my AM clock radio when I was 12--"Got My Mojo Workin'" by Hammond organ jazz/R&B master Jimmy Smith:

    This was 1965, when The Beatles' "Help" and "Rubber Soul" topped the charts. I liked The Beatles, but Jimmy's Hammond organ technique really lit me up every time.

    My mom was our church organist and played a Hammond C3 there. It was electronically identical to Jimmy's B3 but the resemblance ended there. So... talk about a nostalgia trip...I was 12 when I was listening to this and it just energized me and made me feel like I'd run into an old friend.

    If it hadn't been for Jimmy Smith, would we have had Booker T., Lee Michaels, the organ lead in Santana's "Soul Sacrifice,"  Jimmy McGriff, and James Brown's manic organ breaks?

    When I was in high school, I had a friend who played organ. He had a Rheem organ with draw bars and a maple-finish Leslie Tone Cabinet. With his rig he could definitely cop the R&B Hammond sound. He entered a battle of the bands and recruited me to play drums. Our entries were covers of Santana's "Soul Sacrifice" and Booker T. and the MGs' "Time is Tight." That was a lot of fun!

    • Like 2
  9. On 9/30/2019 at 5:28 AM, Biz Prof said:

    Perhaps some might find it trite, but for me, it's most of the verses in "Time" by Pink Floyd and Harry Chapin's "Cat's in the Cradle"--especially as my kids are growing up and moving out. 

    Strangely, once in a while I'll hear "Down to the Waterline" by Dire Straits, and when that last verse comes around and Knopfler makes reference to the now-much-older-girlfriend feeling nostalgic/melancholy about the places she and the boyfriend trod, it will touch an emotional nerve.  "Brothers in Arms" is pretty damn emotional, too.

    The common thread seems to be getting older and realizing one's youth is long gone. 

    I'm 66 now and had a tough 2019 in and out of the hospital plus a stroke that seems to have turned me into a "sentimental old fool." When I dropped digital for vinyl, it amped up the tear factory. I find the analog signal chain and my refining tweaks to have an emotional impact I seldom had in digital. I grew up in a simple Evangelical Christian home. My parents were born in 1909 and 1912 and grew up in rural Illinois. When I was listening to "Down to the River to Pray" on the O Brother, Where Art Thou? soundtrack, it evoked an overwhelming wave of nostalgia. My dad died in 1982. I remember him telling me he was 6 years old when he was baptized in an Illinois river because his church was too poor to have a built-in baptistry in their church building. When gathering outdoors on a riverbank for baptisms, the congregation sang "Shall We Gather at the River?" instead of "As I Went Down in the River to Pray." He said he was so small at the time that the pastor baptizing him held him up so his feet didn't touch the river bottom. So I had a close relationship with someone who had a near identical experience to the river scene and song depicted in the film and on the record. The baptism scene and its soundtrack in "O Brother Where Art Thou?" turns on my waterworks every time.
     

    • Like 3
  10. On 7/30/2020 at 11:42 PM, gorch said:

    Dynamic ranges, those were the times. Nowadays, they sometimes compress to death. The guys from Avantgarde Acoustics once told me at a personal presentation that they stopped buying modern vinyl for that compression reason. The LPs keep sounding meh on their high end equipment.

    https://www.avantgarde-acoustic.de/en/

    One of the stories I heard was--that for radio play--when listeners turned the tuner dial--the louder songs are what they stopped and listened to, which also translated to more record sales. Compression made it easier to set playback to higher average volume.

    This never quite made sense to me, because I was under the impression that the radio stations could apply compressions to their broadcasts to make the music louder. I've heard a few anecdotes about the recycled vinyl era. Some claimed that they saw metal shreds and remnants of record labels pressed into recycled record pressings, but I never saw any, nor read of them in reputable magazines.

    I do remember commercial records of some companies that sounded particularly good. A&M's sound quality consistently stood out. I remember when some hi-fi enthusiasts would play a Tijuana Brass album when they wanted to show off their new stereo. A&M signed a wide range of artists from hard rock to soft rock and jazz, and I remember them generally sounding particularly good compared to big company labels. Even there, some had great quality. In the '70s, decade of the oil embargo (and reason behind recycled vinyl), A&M records's early signed artists had good sounding albums by Joe Cocker, Procol Harum, Captain & Tennille, The Police Sergio Mendes, SuperTramp, Burt Bacharach, Liza Minnelli, The Carpenters, Quincy Jones, Janet Jackson, Cat Stevens, and Peter Frampton.

    I know that list includes some artists that aren't popular with HFC regulars, but these A&Ms were good-sounding albums. At the stereo store we often used Supertramp's "Crime of The Century" to show off some of our premium gear and its dynamic range. Ditto for Cat Stevens on A&M. I remember before getting into quality audio myself, I visited a guy with an impressive-looking stereo system. To show it off he played a Tijuana Brass album, and the sound was clean, well-imaged, and dynamic.

    Speaking of dynamic range and Nakamichi,  in the summer of 1975, a week or so before got the job at a high end store in Southern California, the founder of Nakamichi stopped by to demonstrate one of his cassette decks. Steam locomotives were still active in Japan, and he recorded a steam locomotive-pulled train as he stood alongside the track, arms spread, a microphone in each outstretch hand to record the sensation of a train passing by from the right to the left. The managed to record such a dynamic range of a live locomotive that at the peak of the playback it blew out the midrange drivers of the twin Dahlquist DQ-5s in the demo room, and these were pretty rugged, 5" dia. midranges in a 5-way design where no driver had an excessively wide frequency range to reproduce.

    This may seem to contradict my "meh" comment, but context is everything and sometimes the same component--or model of that component--can sound different depending on other circumstances such as playback room, recording acoustics, mic quality, incidental parts of the signal chain, etc. But according to everyone who worked at that store and witnessed Dr. Nakamichi's demo, the midrange blowout was exactly what happened.

    The picture below shows a sample pair of DQ-10s with their drivers exposed on their individual baffles. The midranges are the mid-sized cone speakers on the outer left and outer right positioned above the 10" woofers.

    spacer.png

    • Like 1
  11. On 7/30/2020 at 8:12 AM, gorch said:

    Actually, I started in the 80s using quality equipment, which was a Dual top line deck and TDK cassettes. The better ones too. I thought the sounds were thin compared to LP. CD then opened new doors.

    I did find some wide variety of cassette quality, even on copies to the decks with reputations. The store I worked in carried Nakamichi 700 and Nak 1000. Compared to my Tandberg open reel transfers, the Nakamichis sounded "meh." On the other hand, we also had some Advent factory-recorded CrO2 cassettes, and I was trying to copy an Advent orchestral classical recording to my Tandberg open reel deck. To my surprise, the Advent tape had so much dynamic range, my open-reel Tandberg running at 7-1/2 ips couldn't handle the dynamic range of the Advent's real-time transfer onto a CrO2 Compact Cassette. We also had a modestly priced 3-head Hitachi deck that we put on our test bench. It had a frequency response of 20-20,000 Hz + 0dB at 1/20th the price of a Nakamichi 1000. Go figure :D.

     

    • Like 1
  12. 6 hours ago, gorch said:

    Actually, I had never been happy with the tapes in the old times and preferred to buy vinyl where I could afford it. My cassettes are all gone. The vinyl stayed.

    However, I surprised that these are coming back to. But I see that they have USB to kind of digital converting into mobile world.

    If you're referring to ready-to-play cassette tape versions of album releases, you are right. Those were crap. However, with a good open reel tape machine from Tandberg, Teac, Sony, Revox, etc., or a cassette deck from Advent, Tandberg, Nakamichi (though very expensive) using blank tape from TDK, Maxell, Sony, and a few others, you could achieve a better sound than from an LP. I'm talking about the '70s here, when home audio was getting big, and there was a worldwide petroleum embargo, causing the record companies to use thinner and less pure vinyl to make LPs. RCA came out with a really thin, flexible product called "Dynaflex" in an effort to make their flimsy, low-vinyl content products seem desirable. Dynaflex LPs weighed about 95 grams, vs. 140g LPs pressed in the '60s and earlier.

    Today, the high quality pressings often weigh 180g and even 200g (about 0.44 lb.) This was further exacerbated by the record companies recycling the vinyl in the '70s, adding lots of impurities to the vinyl pressings of the time.

    In 1975-6 I worked in a couple of audio stores in Southern California. Many of the run-of-the-mill records sounded so bad we played direct-to-disc Sheffield records instead. Also, I had a Tandberg open-reel tape deck that had a high quality built-in phono preamp. I could tape records directly into my tape deck and bypass the crummy phono stages in most of the receivers. The results defied conventional wisdom, as the recordings easily sounded better than the original records.

    • Like 1
  13. On 10/13/2019 at 12:25 PM, gorch said:

    Question is, where to get an analog source nowadays other than life-to-LP cuts?

    It depends on what analog source you want. If it's for personal use, you can get a brand new, pretty high quality cassette deck from Amazon for only $159.

    Front:

    spacer.png

    Back:

    spacer.png

    It turns out that vintage open 7-1/2" reel restored vintage tape decks are becoming more common, too. Restored Teac 7300 for $600 on eBay:

    spacer.png

  14. 9 hours ago, gorch said:

    It was that the campaign has been very successful and they are making progress in the development. 
    The pricing will be higher than anticipated, so I assume that the product won’t create any mass product effects. You can pre-order comparably cheap for a few days though.

    https://phonocut.com/blogs/news/pre-order-today-new-prototype-pricing-delivery-update

    It also might help expand a fan base with after-gig record sales. In that situation, the relatively slow reproduction time wouldn't be too much of an obstacle.

    • Like 1
  15. On 10/13/2019 at 12:42 PM, Dave Scepter said:

    Exactly!.. & If you record a CD on Vinyl, it'll still be digital with added pops and crackles

    It may still be "digital," but with a pro-quality DAC, it may sound like pure analog. The DAC circuit in your CD player is usually a $40-$150 DAC. The transfer of a digital recording to an analog master probably uses a thousand-dollar (or more) professional, studio quality DAC, and they sound like it. E.g., the Dire Straits' album, "Brothers in Arms," was one of the earliest and most "pure digital" recordings in pop/rock music. I have the LP of it, and on playback, you'd never suspect it was originally recorded digitally. It has a lush, full, detailed, and most of all, musical sound to it. From an artistic and emotionally captivating standpoint, it is one of my very favorite records.

    Also, if your LP playback is getting drowned out by "pops and crackles," you're doing it wrong.

    carbon-fiber brush, stylus cleaning brush, anti-static zapper:
    spacer.png   spacer.pngspacer.png
    spindle-mounted bubble level                                   motorized record cleaning machine
                                                                                           with fluid, brushes, and wet-vac               

    spacer.pngspacer.png

    • Like 1
  16. On 10/13/2019 at 7:35 AM, Dave Scepter said:

    The whole idea of a vinyl vs CD is "analog vs digital"... Why would you use a digital source then record it with analog? 😞

    Because of two factors: 1) Some potential customers may have a turntable but no CD player. This is especially true when vinyl's popularity started coming back (first as a novelty or nostalgia concept)  around 2007. From this standpoint, the attraction could be based on an old medium that's still trendy and can stimulate cash flow and/or commerce. But you don't have to be a golden-eared high end audiophile to prefer vinyl. There is a fairly large nostalgia market for the Crosley reproduction record players and radios.

    spacer.png  spacer.pngspacer.png   spacer.png ... etc.

    In fact, one of my wife's co-workers received one of those Crosley nostalgia record players for Christmas. She was ecstatic. To give her something to play, I combed through my LP collection and gave her some of my duplicate LPs including Miles Davis' "Kind of Blue" and The Beatles' "White Album." She was ecstatic. Similarly, my wife's granddaughter was in a staged school musical of "The Lion King." We gave her a Crosley record player/radio and sent her an LP of "Lion King" and other Disney musicals she loves. So here's a 15-year-old girl who's ecstatic to play some records instead of digital streaming and CDs.

    A vulnerability in digital recording is attributed in some circles to steep slope filters in an attempt to maintain the dynamic range (I think) inherent in digital recordings. These steep slope filters interrupt the phase relationships between different voices and instruments, and to some ears (mine included) make the music sound edgy and out-of-sync. The high end audio industry has been working on this since 1987, and made a debut in MQA decoding around 2013. MQA stands for Master Quality Authenticated which takes the steep slope filters used during recording, and corrects the steep curves on playback. In a high end demonstration of Magnepan's flagship panel speakers, I heard a stunning demonstration of an MQA encoding/decoding. It sounded great.

    In a round table discussion I read about, one of the legends of vinyl mastering mentioned that the analog signal chain is especially adept at preserving phase relationships, which makes LPs sound more real, fleshed out, and easier to listen to. After buying my first turntable after 20 years of listening strictly to digital, I can attest that--in my experience--the music in vinyl playback frequently feels emotionally better than playback through all-digital signal chains. Preserving the phase relationships among several voices and instruments makes for more realistic and musical-sounding harmonies resulting in a more lush sound and better sense of the performance stage or studio.

    In the history of recorded music, no obsoleted audio format ever roared back the way 33-1/3 vinyl has in the 21st century.

    P.S. I'm not dissing the component that started this discussion. I like the concepts of musical empowerment and creative transfer of music to formats of your preference. Even our granddaughter's Crosley retro player is Bluetooth-compatible.

    • Like 1
  17. On 7/1/2020 at 3:59 PM, JGravelin said:

    I'll second KTBs suggestion of a pressurewound string and the GHS option there is really good at giving a brighter roundwound sound with a smooth feel. Straight out of the pack they have a nice sparkle and will warm up a bit over a month of daily playing. The DAddario Chromes are very bright for a flatwound string and will hold the "zing!" for quite a while. Super smooth feel as well. To split the difference tho, give those GHS Pressurewounds a try. IMHO, as always.

    Another advantage of pressurewound strings is that--if you're playing a fretless bass and you need something with a more assertive, roundwound style attack than you get from flatwounds--I've found that pressurewound strings split the difference between the attack and tone of flatwounds and roundwounds. And they're easier on the fingerboard than a full roundwound would be.

    And if you use a flat pick on pressurewounds, you'll get all the attack and leading edge you could want from a fretless.

  18. 11 hours ago, Brewmaster said:

    I’m a big believer and user of the Celestion G12H made in UK version. 
    I used them in my 18 Watt Amps when I was building them, after trying a Crap load of others. They work really well with Marshall style amps.

    It is a rabbit hole &, extremely subjective further complicated because all amps  work better with certain speakers. We know this yet still pursue the tone in our heads. 
    Enjoy the journey! 

     

    The amp/speaker synergy is certainly significant, but there are many guitar/amp factors that can influence total tone:

    • Guitar materials and construction (wood quality, laminations (if applicable), hollow/solid body)
    • Pickups and wiring
    • Guitar wiring
    • Pick material, shape, and thickness
    • Player's pick attack
    • Strings: e.g., roundwound, flatwound, ground roundwound, compressed roundwound, nickel coating, stainless steel,  etc.

    That's about 36 possible combinations, not counting the subcategories, amp tubes and condition, wiring, solder joints, pots, resistors, etc.

    Definitely tone starts in the musician's mind, that is hopefuilly achieved and refined by entering the rabbit hole and swapping components and accessories until you reach your vision.

    Many guitarists with distinctive sounds have elaborate pedal/amp/speaker configurations to achieve them. Santana and Billy GIbbons come to mind.

    acb1eb7a13552ce0bc261685072ba131.jpg

     

  19. I used to have a recording of this album, retrospective of the Moody Blues' most signature songs released as a 2-LP album. I was working at a stereo store in 1975 and this was one of our favorite demo albums. I made a recording of all 40 minutes of the album on my Tandberg reel-to-reel and listened to it often. I really felt like it gave me a representative collection of their songwriting, musicianship, and variety of styles and themes.

    Then 12 years later I sold my reel-to-reel to help finance a move from California to Boston, and I had no way to play my open reel tapes. I went without from 1987 onward.

    In 2007 I bought a new turntable and started seeking out my favorite LPs. I tried really hard to find this one, but they seemed to be out of print or there were a few scarce vintage copies that had gotten pretty expensive.

    Then a week ago I realized, "Why not see if anybody's listing these on eBay?" Sure enough, there they were, and at prices $10 to $50 below what I'd seen before. I picked a VG+ to VG++ rated copy (and the seller proved to be honest; the black vinyl gleamed), and only $9.50 for the 2-record set in like-new condition.

    It arrived a couple days ago (fast response and shipping) and to took me on a time trip. These songs remind me of what was going on in the mid-'70s and what a skilful creative group they were. And my wife likes the Moodies, too. We caught them live in May, 2017 on their 50th anniversary tour of their "Days of Future Passed.

    Great stuff, well written, well-recorded, and well-played. And the music takes me all the way back to when I turned 14.

     

     

  20. On 7/9/2020 at 11:32 PM, gorch said:

    Interestingly, when you listen to the late Beatles and continue with early ELO I+II right after, except for the voice it keeps sounding very similar. 

    When ELO first came on the scene, to me they sounded like where The Beatles had been heading musically if they hadn't broken up,

    It looks like several people noticed it before me.

    • Like 1
  21. On 7/8/2020 at 1:50 PM, it's me HHB said:

    The name of the proper guitar speaker is Celestion Greenback (English)

    Say, HHB, is that what's in your TopHat combo or speaker cab? I have a Club Deluxe, a combo with a 6V6 power section based on a Fender Deluxe powering a 12" Celestion Greenback. It's a good match with a lot of dynamics and Brit/uSA tonal possibilities.

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