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distortion + hollowbody = ?

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i've had a few crazy ideas lately so i've poked around and now i gotta ask the titular question. i know it has been done to great effect in the past (nuge) but i'm going for something different. not a lot of clips on you tube for this sort of thing, either.

 

a es-175 type, or any lam top seem to able to do this without too much hassle (why they were invented), but what about a solid top? how much volume and gain can you get away with before you get uncontollable feedback? can it be a stage guitar? i'm loving the hollow sound lately, but i do often times use a perverse amount of gain and i figure these can do a lot of cool stuff with effects, too.

 

i'm particularly curious about the (elitist) broadway, as they sound so cool when played properly. i kinda have half a mind to throw a bigsby on one and let it rip. hard. i know a few of you have some hollows out there. can you crank it up and then report back? thanks!

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Not the ideal gutiars for Mega Gain! But, if you stuff the interior with towels, an inflated baloon, or even put in a styrofoam block, snug to the top and back, anything...to keep them from vibrating at different frequencies (AKA feedback), you can get away with a lot more "gain" than you'd be able to, normally. So, I'd say "experiment," and see what works best. Might be interesing/fun to hear what you come up with, too.

 

Also, some players tape one or both "f" holes closed, or buy sound hole baffles, for that purpose.

 

 

CB

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i am initially against the stuffing principle, because i don't want to alter the basic sound. and i should add that i love feedback, but i need to be able to control and manipulate it. i certainly don't need all kinds of crazy feedback for my clean work, which i heard is possible at even moderate stage volumes.

 

kinda chubbed on the elitist broadway, but i guess i can go lam top if i have to. might even consider a gretsch if i have to. gretsch players do this sort of thing all the time, right?

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I don't know...did he use anything at all? He never seemed to stand that close to his amp, and George Harrison said

that when they did "I Feel Fine" "Live," John would strike that A note, move toward the amp, then when he got the

feedback he wanted, he'd just turn and move away from it. So...I don't think (know if) he used anything, really.

 

CB

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Quite a few of my early rock guitar influences played hollow bodies with a bit of distortion, and I still absolutely love that sound. Listen to:

 

Sons of Champlin - "Loosen Up Naturally" Bill Champlin plays an ES-175, Terry Haggerty a solid top L-5 CES

Moby Grape - Anything they did. Jerry Miller still plays the same L-5 CES today he did on all the Grape's recordings

Larry Coryell - "Gary Burton Quartet Live At Carnegie Hall", "Spaces" Larry played a Super 400 and got some great distortion and controlled feedback sounds. Plus he plays like a mofo.

It's A Beautiful Day - Guitarist Hal Wagenet played a jazzbox (ES-175, I think)

Quicksilver Messenger Service - Guitarist Gary Duncan often played a Gibson L-5 CES or Barney Kessel.

The Rascals - Guitarist Gene Cornish generally played a Barney Kessel model, sometimes with distortion

 

The feedback on "I Feel Fine" wasn't the Casino, but rather the Gibson J-160 (with built in pickup)

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Quite a few of my early rock guitar influences played hollow bodies with a bit of distortion' date=' and I still absolutely love that sound. Listen to:

 

Sons of Champlin - "Loosen Up Naturally" Bill Champlin plays an ES-175, Terry Haggerty a solid top L-5 CES

Moby Grape - Anything they did. Jerry Miller still plays the same L-5 CES today he did on all the Grape's recordings

Larry Coryell - "Gary Burton Quartet Live At Carnegie Hall", "Spaces" Larry played a Super 400 and got some great distortion and controlled feedback sounds. Plus he plays like a mofo.

It's A Beautiful Day - Guitarist Hal Wagenet played a jazzbox (ES-175, I think)

Quicksilver Messenger Service - Guitarist Gary Duncan often played a Gibson L-5 CES or Barney Kessel.

The Rascals - Guitarist Gene Cornish generally played a Barney Kessel model, sometimes with distortion

 

[i']The feedback on "I Feel Fine" wasn't the Casino, but rather the Gibson J-160 (with built in pickup)

[/i]

 

On the recording, it was...but, live..,John played either that, his little Ricky into Vox AC-100, or (later) the Casino,

into either the AC-100, or (on the last American tour) the Vox (Baldwin era) Super Beatle amps.

 

CB

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The only full hollowbody I have only has a mini humbucker at the neck-it's all wood mahogany not laminate(Jay Turser JT 143)... I have 2 semi hollows-one w/ P90's, the other buckers both laminate I'm pretty sure (Wildkat, Sheraton)...I go for feedback effects w/ all of them. I'm w/ you eor-I like the feedback aspect too.

 

 

What kind of amplification are you using? Feedback and gain doesn't seem to be a problem for me in overload-it's volume and proximity to the amp. The most wattage I have is a 50 watt ampeg...I find that my 30 watt Epi is easier to control-which I guess makes some sense. But either one of them when opened up will shriek like a banshee if I'm in the wrong spot! It's just going to take some practice w/ the specific guitar and amp combo you are going to use. Not something I'd want to experiment w/ onstage! But once you get to know the whole rig and how it will behave at performance volume levels (and have placement worked out) you should be able to work w/ it and get the feedback when you want it and not when you don't. Usually! LOL

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I used to have an ibanez full hollowbody artcore that I ran through my Mesa (100 watt dual rectifier... Definitely high gain) with decent results... It was probably laminate top though, not sure. Get yourself a boss ns-2, and set it to a moderate level... It should kick in and stop most unwanted feedback... Then if you want to let her squeal, turn the pedal off.

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well...there is one guy who used a Gibby short scale Byrdland that did pretty good with his feedback control...Uncle Ted

Course he is crazy as a run over dog except when it comes to playing a guitar..Motor City Mad Man comes up short on describing him....lol

Capt

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JJCale used to play a Harmony acoustic with the back punched out.

Wasn't a pro job, either.

But Capt. put the lid on it.. Ted don't sweat the details.

 

TWANG

 

Motorcity Madhouse Blues

 

copyright 1982 p.f.coleman all rights reserved. not to be used without express permission.

 

"He did a double somersault from behind the amps

about twelve foot up in the air.

he overshot some, and hit six groupies

that were milling about out there.

His guitar shorted out, then it caught on fire

the amplifier blew sky high

and those that escaped, did later relate

he said this before he died..

 

Wang Dang! Sweet Poontang!

Cat Scratch Fever Gotta Shake that thang!

Hey, Hey Baby! Motorcity Madhouse Blues"..

 

 

etc.

 

 

etc. *s*

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