csprague Posted October 26, 2012 Share Posted October 26, 2012 Not sure how many of you are familiar with the song, but it's off of 2001's Sailing to Philadelphia Album. http://www.youtube.com/watch?v=i-gUV4UKWHA Apparently it's an original 1959 ES-335 fat neck played through a likewise original 1959 Bassman. A picture of the combo is even inside the slip cover of the album. I gotta say...MAN does that sound good. I'd kill for tone like that. I keep hearing that all 335s are different, but this is something else entirely. How much of that is his guitar, how much is the amp, and how much is just his fingers? How would I even get close to that if I wanted to try? BTW, after 3 weeks, still loving my new 335. Chris Link to comment Share on other sites More sharing options...
csprague Posted October 26, 2012 Author Share Posted October 26, 2012 The outro solo starts around 3:00, BTW. Chris Link to comment Share on other sites More sharing options...
badbluesplayer Posted October 26, 2012 Share Posted October 26, 2012 I'd say it's about 30% the guitar, 20% the amp, and 30% "in the fingers". That leaves the last 20%, which is having played enough with that particular instrument and that particular amp enough to be able to make that particular tone. Link to comment Share on other sites More sharing options...
Don335 Posted October 27, 2012 Share Posted October 27, 2012 I too love this tune and his sound...but I think it's Mark Knopfler's feel,touch,and phrasing that makes his sound! I tried for years when he was playing Stratocasters to sound like him...it's pretty hard to do? He is an amazing player with his own unique sound like Beck, Page, Green, Santana,Clapton and all the greats. Don335 Link to comment Share on other sites More sharing options...
Maestro Vibratoer Posted October 28, 2012 Share Posted October 28, 2012 I would say a fair amount is in the fingers. Shades of Stephen Stills a la Wooden Ships. I think Stephen was playing one of the jumbo Gibson archtops with the tone rolled off. Link to comment Share on other sites More sharing options...
littlejohnny Posted November 3, 2012 Share Posted November 3, 2012 Though all the above statements are true to some point, I'd like to state the importance of the amp. Sometimes I wonder why people pay so much money for a quality guitar and then play it over some modelling or other mediocre amp. I play for over 20 years and had a lot of different amps. Lately I decided that I really want a tweed amp. Long story short, since I could not afford a real vintage one (way overpriced here in europe) I finally ended up building a tweed princeton from mostly mojo and TAD parts. This i the best sounding amp I have ever owned, its absolute touch sensitive, really nice natural compression too, for an amp with only two controls a whole lotta different tones, its like a real extension of the guitar you plug in, etc., the only downside: Since the amp I build is a 5 watt practice and recording amp, now I really want a bigger one (deluxe or bassman) for band settings. You should go out and play some tweed style amps and see if it helps you to get near the tone you are looking for. Its important to play amps that are build like the real deal, like the fender custom shop amps or for example victoria amps (guess in the US you'll find a lot of builders, who try to get to the tweed mojo,) and not one of those regular bassman reissues. Sorry, but I have to add a pic. Link to comment Share on other sites More sharing options...
Maestro Vibratoer Posted November 4, 2012 Share Posted November 4, 2012 Nice amp! If you really want to know how it sounds, just use a small digital recorder. I have a Princeton silverface '70. I always thought it was "the business" til I recorded it with my band. Am now playing through a Carvin vintage 33 (no longer made) with several mods. Hate to say it, but for my current band, the 33 rules the day. Link to comment Share on other sites More sharing options...
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