Showing posts with label guitars. Show all posts
Showing posts with label guitars. Show all posts
Thursday, April 2, 2015
Monday, November 22, 2010
John Fahey - Andy Kershaw Session 1987 (BBC)
Amplify’d from delta-slider.blogspot.com
Delta-Slider
American Primitive - Blues - Flamenco
John Fahey - Andy Kershaw Session 1987 (BBC)
ANDY KERSHAW SESSION 15 October 1987
St. Patrick
Nightmare-Summertime
Spanish Two-Step
On the Sunny Side of the Ocean
Dance of Death
Supposedly, Richard Thompson, the great English acoustic-electric guitarist and singer-songwriter, a Fahey fan himself, was so appalled at what he perceived to be Fahey's sloppiness in this set that he phoned Andy Kershaw and asked to record an acoustic set for the programme to make up for it, in some karmic way. Richard was probably unaware of Fahey's various health problems, which by 1987 were beginning to affect his guitar playing. from: JohnFahey.com
I would not characterize this as a poor effort. There are a few bum notes but it sounds lively and the production is excellent.
The 1980 Fahey release "Yes! Jesus Loves Me" finds Fahey giving a previously recorded hymn a make over. Saint Patrick's Hymn from Transfiguration is given to a more bluesy interpretation and doubled in length. Great piece now called simply, St. Patrick
This appears to be the only live recording Dance of Death. I find this live version of the song important for a couple reasons. First, and this may sound silly, but I feel rather awed to hear Fahey playing this live, I guess because I have always thought that this was one crazy sounding piece of music. As though I have subconsciously been suspicious that Fahey was using some sort of studio trickery to play this song. The tuning, the dissonance, the meter all combine to make it sound as if one man couldn't really play it all by himself.
This download is an edit of the radio show, the DJ has been removed and Nightmare/Summertime is missing but the quality is excellent.
The edit of John Fahey on the BBC
UPDATE: When I wrote this post I knew it was missing a song: Nightmare/Summertime. I had the post all written up before I discovered it. Then I spent a fair time searching for it to no avail. By the time I posted this, I had forgotten to mention it.
Fortunately, Joe over at the John Fahey blog noticed it and did something about it!! I must say that is a much better version than the sad one presented on the studio release. Thanks to Joe and Stephen! The radio show version is not as high quality as the other source but has other advantages noted above. I would get both!!
Download the radio show
Read more at delta-slider.blogspot.com
See this Amp at http://amplify.com/u/fvu9
Sunday, December 20, 2009
Syd's Gear
From: julianindica on the madcapslaughing Yahoo group here: http://launch.groups.yahoo.com/group/madcapslaughing/
Syd's Gear - for all the guitar maniacs on the list
By the end of 1966, Barrett used a 50-watt Selmer Truvoice Treble n' Bass 50 Mk II with matching `All-Purpose 50' Speaker Cabinet with 2X12 speakers. Onstage, the Pink Floyd used Selmer Goliath cabinets and Stereomaster guitar amplifier heads, with four Selmer TV/100 PA amplifier heads, for a tremendous roar.
A perfect gig amp with clean tone, Syd's Selmer combo excelled at two things – treble and bass. Channels had clean tone to about four on the volume dial. Turning volume up, bass channel had vigorous crunch, with blues and jazz overtones. A bit higher and Syd's dark expansive proto-metal sound rumbled through. Even with treble control down, treble channel had knife's edge sharpness. As Syd turned treble higher and pushed the amplifier hard, he got into extreme noise and feedback. His Selmer amp had an effects loop wired to pre-amp valve, an echo send return on the back Syd utilised with Binson and a Selmer Buzz-Tone fuzz pedal.
(from dysale67)
An early solid-state distortion unit Selmer introduced in September 1966, a three-stage transistor circuit gave Buzz-Tone much smoother distortion than other fuzz pedals. Barrett was an expert manipulator of effects, used with restraint. Barrett's Buzz-Tone fuzz had stinging bite at high volume, with great sustain. (`buzz a while...sting! ')
Syd put Buzz-Tone on maximum setting then rolled guitar volume knob down for overdriven parts and back for distortion. Like Gilmour or Hendrix, Syd set fuzz and volume at maximum level and used guitar volume to control gain and fuzz. Fuzz pedal boosted and clipped sine wave input from guitar into square waveform. Buzz-Tone's germanium transistors were notorious for wonky tone in hot clubs, an interstellar overdose of flat sine waves. As Buzz-Tone clipped, intermodulation caused signal heavy with extra harmonics, often distorted.
(from dysale67)
Syd's Esquire proved versatile for every gig. With all 21 frets clear of the cutaway, Syd howled right up the neck with superb sustain. The single coil bridge pickup was heavy, with strong mid-range, and much power at high volume. Playing live, Syd flicked the three-tone selector switch, with resistors and capacitors altering frequency response.
In position one, or bridge-setting, tone control was disconnected and wired direct to output jack. Here, Syd got crisp treble lead tones, setting Selmer at four or five gain, for leads more scalding than Telecaster. In position two, standard volume and tone control arrangement allowed Syd to darken and brighten passages. Turning tone knob to the centre gave Syd good Telecaster-like mid-range to vamp while Rick soloed. Syd could mellow tone a bit by strumming past where neck pickup would be, or diving to the bridge with Zippo flashing across the bottom E string for his signature sustain violin-like tone. In position three, tone control was again disengaged.
A unique Fender tone capacitor rolled off treble and some bass, producing muted dark tone the rhythm player in Syd thrived on. Here he could drop into Waters' bass range and thicken rhythm.
(from andrej10220)
Esquire enthusiasts rave about so-called `cocked wah' in the third position, where signal highs and lows swooped and dipped for pronounced hard-hitting tone. Barrett relied on barré chords to reduce dissonance, damping with his thumb over E string. Applying effects to amplified signal after distortion by preamp, echo and fuzz sounded better. Syd tweaked Binson volume input for overdrive and ran the loop in parallel with dry amp signal, boosting Binson's maelstrom undertow as signal waned. Syd would raise volume on fading echoes, capturing decay, decentring rhythm. Using different pedals in effects chain, plugging ends into the amplifier, Syd got repetitive feedback signal he modulated with effects; filtering with Binson, adding gain with Buzz-Tone; modulating wave forms with swell.
(from dysale67)
By the Games For May concert, Syd was experimenting with a Fender Stratocaster and Vox Tone-Bender pedal, also using a foot switch to tap in and out of Binson echoes. By the end of the summer, Syd was further using a Selmer wah pedal, one of the very first British guitarists to do so.
Syd's Gear - for all the guitar maniacs on the list
By the end of 1966, Barrett used a 50-watt Selmer Truvoice Treble n' Bass 50 Mk II with matching `All-Purpose 50' Speaker Cabinet with 2X12 speakers. Onstage, the Pink Floyd used Selmer Goliath cabinets and Stereomaster guitar amplifier heads, with four Selmer TV/100 PA amplifier heads, for a tremendous roar.
A perfect gig amp with clean tone, Syd's Selmer combo excelled at two things – treble and bass. Channels had clean tone to about four on the volume dial. Turning volume up, bass channel had vigorous crunch, with blues and jazz overtones. A bit higher and Syd's dark expansive proto-metal sound rumbled through. Even with treble control down, treble channel had knife's edge sharpness. As Syd turned treble higher and pushed the amplifier hard, he got into extreme noise and feedback. His Selmer amp had an effects loop wired to pre-amp valve, an echo send return on the back Syd utilised with Binson and a Selmer Buzz-Tone fuzz pedal.
(from dysale67)An early solid-state distortion unit Selmer introduced in September 1966, a three-stage transistor circuit gave Buzz-Tone much smoother distortion than other fuzz pedals. Barrett was an expert manipulator of effects, used with restraint. Barrett's Buzz-Tone fuzz had stinging bite at high volume, with great sustain. (`buzz a while...sting! ')
Syd put Buzz-Tone on maximum setting then rolled guitar volume knob down for overdriven parts and back for distortion. Like Gilmour or Hendrix, Syd set fuzz and volume at maximum level and used guitar volume to control gain and fuzz. Fuzz pedal boosted and clipped sine wave input from guitar into square waveform. Buzz-Tone's germanium transistors were notorious for wonky tone in hot clubs, an interstellar overdose of flat sine waves. As Buzz-Tone clipped, intermodulation caused signal heavy with extra harmonics, often distorted.
(from dysale67)
Syd's Esquire proved versatile for every gig. With all 21 frets clear of the cutaway, Syd howled right up the neck with superb sustain. The single coil bridge pickup was heavy, with strong mid-range, and much power at high volume. Playing live, Syd flicked the three-tone selector switch, with resistors and capacitors altering frequency response.
In position one, or bridge-setting, tone control was disconnected and wired direct to output jack. Here, Syd got crisp treble lead tones, setting Selmer at four or five gain, for leads more scalding than Telecaster. In position two, standard volume and tone control arrangement allowed Syd to darken and brighten passages. Turning tone knob to the centre gave Syd good Telecaster-like mid-range to vamp while Rick soloed. Syd could mellow tone a bit by strumming past where neck pickup would be, or diving to the bridge with Zippo flashing across the bottom E string for his signature sustain violin-like tone. In position three, tone control was again disengaged.
A unique Fender tone capacitor rolled off treble and some bass, producing muted dark tone the rhythm player in Syd thrived on. Here he could drop into Waters' bass range and thicken rhythm.
(from andrej10220)Esquire enthusiasts rave about so-called `cocked wah' in the third position, where signal highs and lows swooped and dipped for pronounced hard-hitting tone. Barrett relied on barré chords to reduce dissonance, damping with his thumb over E string. Applying effects to amplified signal after distortion by preamp, echo and fuzz sounded better. Syd tweaked Binson volume input for overdrive and ran the loop in parallel with dry amp signal, boosting Binson's maelstrom undertow as signal waned. Syd would raise volume on fading echoes, capturing decay, decentring rhythm. Using different pedals in effects chain, plugging ends into the amplifier, Syd got repetitive feedback signal he modulated with effects; filtering with Binson, adding gain with Buzz-Tone; modulating wave forms with swell.
(from dysale67)
By the Games For May concert, Syd was experimenting with a Fender Stratocaster and Vox Tone-Bender pedal, also using a foot switch to tap in and out of Binson echoes. By the end of the summer, Syd was further using a Selmer wah pedal, one of the very first British guitarists to do so.
Sunday, December 6, 2009
Jimmy Page Guitar Collection
From: http://fuckyeahrocknroll.tumblr.com/
fuckyeahrock'n'roll
"Without music life would be a mistake"
--Friedrich Wilhelm Nietzsche
Jimmy Page Guitar Collection
fuckyeahrock'n'roll
"Without music life would be a mistake"
--Friedrich Wilhelm Nietzsche
Jimmy Page Guitar Collection
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