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E-minor7

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Posts posted by E-minor7


  1. Pete Townshend got himself a J-200 in 1968, that he more than liked.

     

    "I picked it out from about five at Manny's in New York. It had a crisp sound and an easy neck. It was only later I found how well the J-200 records when you play it hard. Like the Everly acoustic, it has a rather dead soundboard and that allows you to really dig in when strumming. They are hard to bring to life with piezo pickups because the sound is so distinctive in real air, but the body shape, the necks and the sheer strength of the guitar are all very important to me. They also look utterly beautiful." Townshend 2004.

     

    It followed him for many years, but suddenly in the later 80'ties disaster struck. 2 witnesses recall the situation slightly different :

     

    "I don't have romantic misconceptions about musical instruments — they're just wood, probably far more useful as pulp than anything else. There areactually a couple of instruments that I would miss, and in fact a weird thing happened to the J-200 that I've had for a long time. Half way through Iron Man it got wet in the studio and exploded, and it was almost like the guitar getting back at me — the only guitar I cared about dying on me!" Townshend, 1990.

     

    "So I went over to Eel Pie and met him. Pete asked one of his engineers to get hisGibson J200 and when he opened the case the guitar just snapped: thebridge flew off! … I said, See that Pete; you just look at a guitar and it just smashes itself up! This must tell you something!" Steve 'Boltz' Bolton, 1994 (co-guitarist during the period).

    You can actually hear the guitar if you search the sub-line on the video above. He plays Won't Get Fooled Again in that old clip too. Don't know, but
    it sounds a bit richer in tone – then again there's a second guitarist. The story goes the
    J-200 never refound itself and ended at some museum.

    PeteTownshends1968J-200.jpg

     


  2. Don't see the reason you should address me, I'm absolutely positive about your 'rite', and try to encourage you with my little 'GO'. The Tonerite is a relatively new phenomenon to me and I'd really like to hear different opinions. Been checking some serious tests on the Tube, but the more the better.

     

    This misunderstanding should now be cleared – (and how about dropping the strezzed thread-vibrations).

     

    It is after all good vibes this topic is about. Keep the word freeeee -


  3. The local store has both and I've tried them several times. Alluring, almost impossible to resist. Different tuners, different finish as seen on the Gibson site. The 'straight' H-bird rather orangish, the TV more 'tea-burst' and in this case with a silky lacquer surface (don't know if they come in high-gloss too). Necks similar. The overall sound impression also much alike – I blind-tested third time I was there, but wasn't fooled. Found the 'straight' a bit louder and rougher, the TV more balanced and sophisticated. With same strings they both projected well, but of course in that H-bird way (which mean you shall not take a Martin Om-28 V from the wall right afterwards).

     

    No, no, no, we're talking H-birds here, that's what we want and what we'll get. As said, I never heard too big a difference, though the sales-guy kept praising the TV and had one himself. Then again – Let those sales-guys talk for a while, then ask them to actually demonstrate the instrument. Often they are slightly unqualified players without ability to dig into the guitar, which makes you doubt what it really is they hear. Anyway, they do their best like anyone else, just don't see them as gurus, they seldom are.

     

    For me, guess I wouldn't pay that rather big extra for the TV sound alone. Admit though, that I'm keen on the oldies silk-finish, and a honeybee for those tulip-tuners (don't think you could just switch as the screw-holes are no the same). Good winds on your further search and keep in mind they need to be played in too.

     

    That's it from here - Don't forget to write us when you've found your true L. Would be good to know how and why.


  4. There are one of each on the Bay right now. The red and the black. The black also has the white guard - The red's a little more tomato, and they are both reproductions. I find the particular copy on the photo very appealing - maybe the complementary greenery in the background plays in.


  5. I mainly use Martin SP Phosphor Bronze 12s on my SWD.

     

    I think it brings out the growliness of the Rosewod best, when strummed. Don't do much finger style but they're good for that too. Good longevity. Quite mellow when new i.e. not so much of that new (too) brightness you get with some.

     

    The trusty D'addario EJ16s are also one of my favourites too.

     

     

    Just put on Martin SP .012's on my J-45 (hog) from this summer and as the first 'newzaang' fades, one can begin to judge the meeting. This set has .001 thicker third and sixth strings compared to the .012 EJ16 D'addarios they replaced. They appear a bit crispier, and quite convincing. The real funny thing is that the much talked about build in J-45compressor-effect, which especially came through on the A-chords around second fret - and frankly 'bestrange' me a little - now seems to be on retreat. Funny as it's the E-string which is fatter, not the A..Could this mean that I now hear the first signs of some wooden process. Is this the guitar slowly opening up. . .

     

     


  6. Hmmm. Interesting take. My intention was to lighten up the overall appearance of the guitar, kind of make it a "blonde" thing. But I like your Stetson hat impression, aj. I might have to hang on to that one.....

     

    To be honest I never quite understood the phrase 'Blonde on Blonde', - those days are over.

     

     

     


  7. Well, though only a kid, I started rockin' around 65. Got my first Beatles, Stones, Kinks singles then and soon walked down to the cornershop for the mono LP version of Help ! (which I still have). Saw the film a few weeks after it opened over here - and by the way - clearly remember my favorite Ringos wedding, he, he, he.

     

    Been following things from first row til long up in my later years and keep enjoying the music, footage and myths from back then. Not that the 80'ties and 90'ties didn't provide good stuff, I just love the whole aura of the early tale. Call it the golden age or the chapter after 50'ties rock'n'roll, if you want.

    Know a few people who actually were teenagers or slightly older at the time, and always like to hear an anecdote or two. Especially from people in Britain orthe States where so much fantastic rock - folk - folk-rock -psychedelia - roots-music, whatever, was founded and passed on. I f.x. find it extremely interesting that zombywoof saw Joni Mitchell (twice) just as her star began to rise. To me it would be comparable to an architect watching a little film of G. Eiffel sketching the first lines of his iron tower.

     

    And zombywoof points out another interesting thing when he talks about the chance of looking back on Guthrie via Dylan, on Berry from Beatles/Stones and Johnson from Clapton. That's one more intriguing aspect of the period. First people stormed forward into the unknown territories of electric/acoustic music, mind-scapes and life-styles – then around 68/69, with albums like Big Pink, Sweetheart of the Rodeo and Nashville Skyline, it became necessary, hip and just as tempting to turn around and face the roots from where everything sourced. As you know, this thing happened in Europe too and continued well up in the first half of the 70'ties. During those years everything from Bach to Latin suddenly found it's way inside modern music – okay trailblazing Jethro Tull and Procol Harum might have been the first - but had it not been for acts like Bowie and Roxy Music, the entire. .. . .

     

     

     

     

    Oooh no, there I go'water-balloon-partying' again, , , (me fool for romance) another headache, toothpains etc. must be avoided – Full Stop, , , , , , , and then further -


  8. You obviously have to agree on the key. If the piano isn't flexible, find a capo and analyze how it works so you can use it on the spot. Then – and this is important – get yourselves some pulse. You both must have the same idea of beat, groove even rhythm. With that in place, determine who of you takes care of the basic structure of the tune – chords, bassrole and so, , , who is the carrier. This you can vary from song to song after what seems right. The other player – the free flier –works his way around the 'leader'. Takes care of the holes if you like, accompany straight on when needed - ad smaller counter-figures and soloist runs. This isn't as hard as it sounds and can be done with basic skills, you probably know.

     

    If this doesn't get you anywhere, consider to drop the the co-work.

    All kinds of good luck from here – you'll have 4 hands busy on the coming long the winter-nights.


  9. When the Fabs hit, A&R guys went nuts & signed anybody with a guitar. Voila, the folkie-crossover: his Bob-ness goes electric, The Fabs ape Bob. Wordsmiths.

     

     

    This makes a great clue and it would be a shame not to be aware. The point in time when the force of the snappy, happy go lucky, careless, still unconsciously diffuse rebelling, big-striped T-shirt, bubblegum people fusioned with the more intellectual guard of jazz, folk, poetry, politics and art. It was the nitro meets glycerine moment of post-war culture and the explosion rings on up to our day and age - probably will forever. Must have been around 65 and the vibration - often in the form of distorted radio waves - reached even the smallest village on the Western hemisphere. Soon the youngsters listened in Eastern Europe too (they f.x. managed to burn rock-singles down unto x-ray film, stolen from hospital shelves and stocks).

     

    Some of the best examples of the Big Beat Bang would be :

     

    Bob Dylan - Subterranean Homesick Blues (goin' half electric) and Highway 61 (the el-step taken all the way).

     

    The difference between the 2 Beatles albums Help ! and Rubber Soul (European versions) - and why not include the crazy and untamed Help !- movie as well. Though silly, it defined a brand new kind of weightless 'reality' totally unknown to the 50'ties frame of mind.

     

    Rolling Stones undisguised sex-oooze in the anti-commercialism-attack of number 1 hit Satisfaction. Jagger turning into some gestalt this world had never seen before (apart maybe from some Russian ballet-dancers, as Marianne Faithfull once stated).

     

    The Irish band Them, releasing the debut album called Angry Young Men.

     

    The Who stamming their way through My Generation (can things get more serious).

     

    Donovan covering the tones and philosophy of Buffy Sainte-Maries Universal Soldier.

     

    Simon and Garfunkel hitting the charts with quiet protest Sound of Silence.

     

    And The Byrds flying swiftly though their first 2 LP's, Mr. Tambourine Man and Turn Turn Turn.

     

    Much more could be added to this list, but I fired from the top of the head.

     

    Now, there's nothing new to this, I admit. Some of you might ask, 'Why bring it up - what do I care, it's all past', - the good zomby might grow long balls 'bout me trying to set up another 'water-balloon-party'.

     

    All I can say is, 'Let's not overlook the reason we sit by this table, is the 4 legs of the chair' – (at least we owe that to the carpenter).

     

    And then let us neither forget to remember the ever present Gibson-factor. Because this brand indeed was a part of the scenery. When I look at my 68 SJ, I can't help thinking how it could have played a role in the, so crucial theater back then - and maybe it did, who knows. Maybe Mike Bloomfield, John B. Sebastian or Joan Baez once took it from the wall in a shop, strummed a few chords, then thought, 'Well, well - nice finish, tremendous neck, okay tone, , , but it just doesn't project enough.'


  10. The Hummingbird saw light of day in 1960 and was born with square shoulders. Due to the success of that release, the Gibson people changed the SJ and the C&W to Sq. Sh. in 62. The tuners were different tough, so was the guard. Apart from that it was more or less the same thing. Around 68 or 69 the J-45 followed. To keep it true to the puritan nature of classic 45, they came with mother-pearl fretboard-dots, no bindings and the almost Martin-like teardrop guard.

     

    As said, these models basically were similar and I've never heard the H-bird should have longer menzur. Some of them maybe, but in general I think they rhymed each other - please correct if I'm wrong.

     

    Advice you to take a dive in the lake of 60'ties square shouldered; you'll be amazed how they parallel-developed up through the decade (and furter into the Norlin Swamp). I own a nice 68 SJ and hunt for a first60'ties version. The dealer tells they are like day and night ! Don't forget snorkels.

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