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- Member Title:
- Advanced Member
- 66 years old
- January 22, 1947
- south Florida
- Guitars. Music. Building stuff. Sailing. Politics. Fine wine. My wife. (not necessarily in that order)
- Click here to e-mail me
Posts I've Made
Today, 01:54 PM
Today, 01:30 PMOn taxi duty in my home town today, I found the best temporary parking spot was next to our big guitar shop. Quelle coincidence! But despite my brilliant parking tactic, there was only time to note that the selection of Gibson acoustics had grown in the last couple of months, and then to peruse the picks. I like 346s and want something other than celluloid, since my old Gibson heavy is too clicky on acoustic. But in 346 form they only had Fender celluloid picks. Everything else was standard shape and size or tiny jazz-sized. No Timbertones (I quite fancy trying a buffalo horn pick from their collection), no Claytons (I wanted an Ultem tripick, and a NuTone which seems only to be available in standard shape, but is supposed to do what Red Bears/Blue Chips do for a lot less money). All of the above advertised as doing something akin to tortoiseshell. No Alaska fingerpicks either. So I bought a standard size/shape Dunlop Ultex because it's the nearest thing to the Clayton Ultem. 1.14 mm. I'll let you know how what it's like.
As a cheap substitute for Red Bear or Blue Chip, Dunlop Tortex (.88-1.14 mm) aren't bad for very little money. Certainly not the same, but better than the average "clicky" plastic pick, IMHO.
Today, 11:36 AM
Today, 11:34 AMListen to Buc. He is probably more tuned in to pick differences than anyone on this forum.
Today, 11:31 AMWhat amazed me about Ray was not his keyboards but the way he worked the bass pedals on that Vox Continental.
That Vox really changed things for touring groups that couldn't practically travel with the a big organ like the Hammond B-3. When I was touring with a group in 1970-'71, we had two electric keyboards: an early RMI Electra-piano, and a Yamaha organ. They were easy to handle in our touring van, and sounded decent in the (mostly) small venues we played, generally the mid-west college "coffee house" circuit.
When we first went into the recording studio in New York, I had my first hands-on exposure to the Hammond B-3 and Leslie speaker, although I had played "church" organs before, from WW2 folding field foot pump models to smallish consoles. But whoa! That B-3 was (and still is) a different world.
The Vox Continental had that thin, artificial sound that you associate with early transistor organs, but somehow, it worked in the context of the Doors, probably because of Ray's skill and the general "other-worldliness" of their songs. To this day, I still can't sit through the entire "Strange Days" album without starting to feel uneasy and slightly out of kilter with reality.
However, it's hard to imagine Garth Hudson playing the opening riff of "Chest Fever" on a Continental.....