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pippy

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pippy last won the day on June 12

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About pippy

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  1. In which case I heartily applaud your appreciative values and commend you on your purchase! Play Long and Prosper! Pip.
  2. Lovely 60th anniversary. Many congrats. I really do like the various variations of Darkburst which have been appearing this year in particular. Personally I'd have scarificed the LHS and kept the RHS but also appreciate thet the R0/G0 neck profile wasn't your preferred profile. Hope you have tons of fun with your new darling! Pip.
  3. I suspect we would all agree with that also - especially so if played clean. Of course as we all know once OD boxes etc. enter the mix the type of guitar matters very little to the point where - pickup configurations apart perhaps - it makes practically no difference whatsoever and every guitar ceases to sound like itself but sounds exactly like the amp any effects being used. Pip.
  4. Oh, I quite believe you, m-e. All I meant by my above post was that you sound like you do because of how you play; your phrasing, your pick-attack and so on. Guitar and amp come in to it, of course, but I agree with FZF's earlier post where he mentions Van Halen etc. plugging in to his rig but still sounding like themselves and not FZF. Pip.
  5. Absolutely true. He wanted the type of guitar Freddie King played on his 'Let's Hide Away and Dance Away' album - which WAS a Les Paul - but Clapton didn't know the King LP was an early (1955?) P-90 Gold Top. He bought the 'burst thinking it would be the same... Pip.
  6. Really? Interesting viewpoint, m-e. Surely over the years you must have heard pretty much every tone which can possibly be extracted from a Les Paul / Strat / Tele? Regardless of where my settings are and whichever guitar I'm playing I've never once thought to myself "Oooh!!! A brand-new-and-never-before-heard-sound-which-I-can-call-my-very-own-Tone!" Well, not one that was pleasant anyway... We talk about Gilmour's Tone; Green's Tone; the Bluesbreakers Tone and so on but, really, we are describing more the players' touch, style, phrasing and dynamics as opposed to any one type of tone produced by the combination of a guitar and an amp. We don't recognise Knopfler through his sound as by what, and how, he plays. His (original) essential sound, after all, was - and is - just a plain old clean out-of-phase Strat as used by countless millions of players over the last six decades. What makes Knopfler sound any different from all the others if not his actual playing? Nothing. Using a good approximation of "a Mike Bloomfield sound" but playing in your style is every bit as acceptable as playing with any other settings dialled-in IMO. Unless you are deliberately trying to ape his style, touch yadda-yadda-yadda you will not be a Bloomfield copy-cat. At least that's how I see it. Pip.
  7. Hi and welcome to the forum. A 00 + six-digit serial number dates to 1976. As far as the rest of your post? Pictures will help us know what you are talking about. The L6S DeLuxe was available in Wine Red and had a regular 3-way toggle instead of the Varitone selector switch of the L6S Custom. The DeLuxe also, IIRC, had a rosewood 'board instead of the ebony used on the painted versions of the Custom and the strings were 'through-body' instead of the usual stop tailpiece. I have no idea what Polane is. Pip.
  8. Well. I don't have any pedals so I just stuff each end of my cable into their respective noisemakers and let slip the dogs of war. In comparison to the LP with the Strat I punt in a bit more Bass and set the Bright / Normal switch to the latter. Like this with the Channel/Master duly set towards one end of the spectrum Mr. Knopfler's (early) tones are a dawdle and with simple tweaks in t'other direction Rory G. is mine for the asking. That was my main two settings way back when I used to play out whilst still a fresh-faced kid in my twenties. '70s-era Clapton-esque stuff was in the middle somewhere. And we did almost as much of that as we did Gallagher. Back several years ago when our former forumite friend and Very Good Egg Farnsbarns bought his R8 he brought it 'round these parts. When he plugged it in to the old MM and played he got some great Joe Perry / Slash type tones out of the kit straight away. He then handed the R8 to me and without touching the amp settings at all I was smack-bang in the middle of P. Green / B.B. King territory. Same kit. Same settings. Different pick attack. Different touch. Both Right- just different. Pip.
  9. That's another discussion entirely. I think most of us here go about things in much the same way as many of the greats went about it; we listen to those players whose tones we love and 'our tone' is an evolution of what we find when we try to emulate the tones of others. Apparently (as I read today) Bloomfield modelled his tone on that of B.B. King. Gilmour (it is also said) initially modelled his tone on Bloomfield. How mant players the world over have been influenced by Gilmour? Incidentally B.B. King, famously, stated that he based his phrasing style on the great jazz saxophonist Louis Jordan. Clapton was inspired by Freddie King - which led to him buying the 'Beano' Les Paul. When Green replaced Eric in the Bluesbreakers he bought 'Greeny' to fit in with the repertoire. How many players have been influenced by these two chaps? And so it goes on and on... Pip.
  10. Well, I don't know whether it will be useful for you to know my settings but I'm happy if they might be of some help. Just out of curiosity I had a quick look on-line and there are plenty of folks who have posted which guitar and amp settings they use to get an approximation of a Bloomfield tone so if mine don't work for you then you might want to try out some of the others. I forgot to say earlier that I had the Treble Boost switch on the Music Man amp to the 'Hi' setting which actually makes a huge difference. I don't know what amp you are using, of course, so this probably isn't much use to you at all! Good luck in the Tone Quest! P.
  11. Good for them to pre-empt the theives. I have to say I like Radiohead's early albums a lot. I know Kid A and OK Computer are meant to be their 'best' work but I still much prefer Pablo Honey and The Bends. Pip.
  12. Gibson boxes are all very well, Bill, but remember your Double-O training - and remind Chuck about it too; there's no substitute for Shared Bodily Warmth! For anyone else here who fancies running the familial gauntlet and subsequently joining the new community springing up 'Under the Boardwalk' this one is still available... Pip.
  13. There's a big difference in the approach to achieving Bloomfield / Green tones as opposed to the three others you mention. FAR more subtlety is required from the player. FWIW the way I get at least within the ball-park it is as follows; I'm normally using either my '93 R9 or '95 R0 (both have '57 Classics) or my '95 1960 Classic (matched set of Duncan Antiquities and a set of Grey Tigers) played through a 1977 Music Man 2x12 sixty-five. I dial the gain of the amp almost completely off, have the treble at 10 but the mid and bass at 0 and set the reverb at about 4. I definitely do not use any form of OD box and I wind the guitar's tone knobs back a long way to around 2.5 (R) and 3.5 / 4.0 (T) . Back off the guitar's Vol knobs to around 8.5 / 9.0. and you should be getting close for the 'regular' stuff and simply wind the vol knob(s) up to 9.5 / 10 for the lead break bits. I find that it is essential to adopt a different picking technique as well. Hey; it works for me!... I, like quite a few other members here, have also played quite a number of the earlier releases in the CC series and always found them to be excellently made, great sounding guitars; more consistently so than the regular CS reissues. I don't think I've played anything since the editions reached the twenties, though. I haven't seen a Bloomfield LP here in London. I did try out one of the aged Kossoff LPs and it sounded magnificent but the replicated neck-break area felt rather strange in the hand... Pip.
  14. I couldn't possibly agree more. We touched on this point of "Live sound v's Recorded sound" in the 'Real 59' thread. Hearing a guitar live and listening to a mic'd up, mixed and recorded guitar played back through a sound system are two very different things. And which particular cut of Bloomfield are we talking about because he sounds very different on different tracks. What guitar is he even playing? Although he bought Dan Erlwine's '59 in 1967 and used it as his mainstay with the Electric Flag there are well-publicised photos of him in the studio playing a Strat during the very same period. Lastly much of Bloomfield's tone comes from Mr. Bloomfield himself; not from his equipment. Pip. EDIT : Just for fun the OP could do a lot worse that searching out demo clips of the Gibson Mike Bloomfield re-issue. Gregor Hilden, of course, is one player to google.
  15. I checked out some reviews of the Casino Coupe yesterday. Most were very mediocre but one was very professionally done and, yes, the C. Coupe does sound very sweet with a surprisingly (perhaps?) wide range of tones. It's hard to imagine a sound it CAN'T cover well. I then had another, more productive, 'prospective shopping' look this morning. Could find them available for between £369 and £389 (roughly $465 and $490) depending on finish - which is a very good price here in the UK - and free next day delivery. I would be SO tempted if I didn't already think I should get shot of around half the guitars I have because I don't play them often enough... Still; Very Pretty Guitars, though, and I'm glad to read that you think you might have gotten to the bottom of the tuning stability issue. Congrats again. Pip.
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