OT-- Whos your top 5 favorite Guitar player

[L.A. BRONCOS FAN]

Originally Posted by BroncoBuff

The 5 best, or 5 you like the most?

I like the most:

1. Jimmy Page
2. Robin Trower
3. Peter Frampton
4. Tom Scholz/Barry Goudreau
4. L.A. BRONCOS FAN

You're too kind, sir.

I don't belong anywhere near that list, but thanks just the same.

[Hogan11]

5 of my faves:

Jimi Hendrix
Robert Fripp
Adrian Belew
Ira Kaplan
John McLaughlin

What I didn't realize until I looked at the list is that all of them (with the exception of John McLaughin) are self taught. How cool is that?

[BroncoBuff]

Originally Posted by BB

I like the most:

1. Jimmy Page
2. Robin Trower
3. Peter Frampton
4. Tom Scholz/Barry Goudreau
4. L.A. BRONCOS FAN

Might seem a bit "lowbrow" to put Tom Scholz/Barry Goudreau on my list, but every time I hear a Boston song I'm reminded how truly remarkable they were. Yes, the band's sound was an over-produced power-pop margarine, but those guitars, wow. Some of the 'wow' was Scholz' Rockman technology, that hyper-compressed infinite sustain, but I think most of it was just plain brilliant writing and technique. Solos that last 90 seconds and more - much of it in two-guitar harmony - they were songs in their own right. Hitchin a Ride especially - those guitars wind endlessly and melodically through chorus, verse and bridge, for at least half the song, all without a voice to be heard.

I can see you rolling your eyes now, Hogan, before I even post this. But how about maybe just throw on Hitchin' a Ride or Long Time? Just once before you mock me?

[Hogan11]

Originally Posted by BroncoBuff

Might seem a bit "lowbrow" to put Tom Scholz/Barry Goudreau on my list, but every time I hear a Boston song I'm reminded how truly remarkable they were. Yes, the band's sound was an over-produced power-pop margarine, but those guitars, wow. Some of the 'wow' was Scholz' Rockman technology, that hyper-compressed infinite sustain, but I think most of it was just plain brilliant writing and technique. Solos that last 90 seconds and more - much of it in two-guitar harmony - they were songs in their own right. Hitchin a Ride especially - those guitars wind endlessly and melodically through chorus, verse and bridge, for at least half the song, all without a voice to be heard.

I can see you rolling your eyes now, Hogan, before I even post this. But how about maybe just throw on Hitchin' a Ride or Long Time? Just once before you mock me?

Uh, you better get your eyes checked then, because I won't mock you at all when it comes to early Boston. What you've said, I pretty much agree with. An economical 90 second solo sometimes is all that's needed to convey the feeling and is (in most instances) much more effective than endless showboating. Just MO of course.

The self titled Boston album incidently was the very first LP I ever bought with my own money. I got it when it came out (1976) after hearing the Long Time single on the juke box at the local arcade. I've hung onto it and it's still in near mint condition after all these years...I was all of ten years old.

The only issue one can have with Boston's debut is that it's been overplayed to death. Even given that, just giving the "classic rock radio station hits" a rest and going with the album tracks (Hitch A Ride, Smokin', Let Me Take You Home Tonight, et. al.) is an effective remedy for such things.

[BroncoBuff]

This conversation reminds me of a similar kind of band controversy, about a band I liked when I was young.

That's probably why I'm defensive about this, because I was always having to explain why I liked the Beach Boys.

[Hogan11]

Originally Posted by BroncoBuff

This conversation reminds me of a similar kind of band controversy, about a band I liked when I was young.

That's probably why I'm defensive about this, because I was always having to explain why I liked the Beach Boys.

You can find some great Beach Boys discussion in the archives here (if they haven't been deleted yet) Amesj was a huge fan and it was fun doing the Beatles vs Beach Boys debates with him (he hated The Beatles BTW and got really upset at the notion that Wilson ripped off Chuck Berry riffs for a bunch of their early hits )

[BroncoBuff]

Hated the Beatles? I can't even wrap my mind around such a bizarre opinion.

[Hogan11]

Originally Posted by BroncoBuff

Hated the Beatles? I can't wrap my mind around that one.

It's true...he thought they were very overrated.

I had this theory I talked out with him regarding the popularity of acts like The Beach Boys, The Four Seasons, etc. in the US vs. the British Invasion (mainly the lack of a doo wop/vocal group tradition in the UK leading to more experimentation there as opposed to here where the BB's & 4S were kinda morphed from that whole 50's vocal genre).

I miss the guy really. They were great discussions that never got mean spirited or anything because you could reason with him. It was a lot like sitting around talking about things over a few beers...none of that internet warrior persona crap ever.

[L.A. BRONCOS FAN]

Originally Posted by BroncoBuff

Some of the 'wow' was Scholz' Rockman technology...

I still use the Scholz Stereo Chorus/Delay on occasion. That unit is one of the earliest and, IMO, one of the best rack mount analog stereo choruses ever made. The sound is nice and warm, and it's totally transparent - i.e., doesn't suck the life out of your guitar tone like digital processors.

There's also still a Scholz MIDI Octopus living in one of my racks out in the garage somewhere.

[Rohirrim]

The Beatles were overrated? WTF? I still listen to some of their songs with amazement. Listen to the harmony in the break on Another Girl. I've been listening to it over and over. That sound could separate cream from milk. The amazing thing about the Beatles is that they just tossed this stuff out while having a very good time. They were the tap, and the sound just kept flowing out of them.

I'm not much into the guitar rippers anymore. I can't think of the last time I even listened to somebody ripping off a solo. I prefer more melody connected combinations, like Stills and Neil Young on Bluebird or Ry Cooder on How Can You Keep on Movin'. BTW, every heard Cooder play mandolin? Listen to a song called FDR in Trinidad where he plays guitar and mandolin. My favorite solo rippers are probably Hendrix, Pete Townsend and David Gilmour, but even they weren't doing major finger gymnastics for speed and competitive value. They were creating sound journals.

Never heard LABF. He should post a vid.

[Hogan11]

Originally Posted by Rohirrim

The Beatles were overrated? WTF? I still listen to some of their songs with amazement. Listen to the harmony in the break on Another Girl. I've been listening to it over and over. That sound could separate cream from milk. The amazing thing about the Beatles is that they just tossed this stuff out while having a very good time. They were the tap, and the sound just kept flowing out of them.

I know, but that's the way Amesj was. He just plain didn't care for The Beatles and felt The Beach Boys were more important and influentual

As crazy as that notion seems to us, I have no doubt that he sincerely believed it.

I'm not much into the guitar rippers anymore. I can't think of the last time I even listened to somebody ripping off a solo. I prefer more melody connected combinations, like Stills and Neil Young on Bluebird or Ry Cooder on How Can You Keep on Movin'. BTW, every heard Cooder play mandolin? Listen to a song called FDR in Trinidad where he plays guitar and mandolin. My favorite solo rippers are probably Hendrix, Pete Townsend and David Gilmour, but even they weren't doing major finger gymnastics for speed and competitive value. They were creating sound journals.

I agree.

[L.A. BRONCOS FAN]

Originally Posted by Rohirrim

The Beatles were overrated? WTF?

What kind of crack smoker would believe that?

It's one thing to say "I don't care for The Beatles' music," but to say "The Beatles are overrated" is just monumentally ignorant.

[BroncoBuff]

Originally Posted by L.A. BRONCOS FAN

I still use the Scholz Stereo Chorus/Delay on occasion. That unit is one of the earliest and, IMO, one of the best rack mount analog stereo choruses ever made. The sound is nice and warm, and it's totally transparent - i.e., doesn't suck the life out of your guitar tone like digital processors.

There's also still a Scholz MIDI Octopus living in one of my racks out in the garage somewhere.

It's an oft-repeated maxim, but analog does have a warmth that digital lacks ... at least early digital.

How about a full rundown of your entire setup? Top to bottom, everything.

If you don't wanna post here, shoot me a pm.

[L.A. BRONCOS FAN]

Originally Posted by BroncoBuff

It's an oft-repeated maxim, but analog does have a warmth that digital lacks ... at least early digital.

Any digital.

Originally Posted by BroncoBuff

How about a full rundown of your entire setup? Top to bottom, everything.

I use different rigs for different jobs, but my typical setup is pretty simple these days. First rule of thumb is to keep my entire signal chain analog from start to finish.

Two of my most frequently-used pedal boards are as follows:

Large board: Ibanez Tube Screamer, Xotic RC Booster, AYA R-Comp Compressor, Voodoo Labs Micro Vibe, (Univibe clone) Arion SCH-1 Stereo Chorus, MXR Carbon Copy Analog Delay, Electro-Harmonix Memory Man.

All of these pedals are controlled with a Carl Martin Octa-Switch (true bypass looper/switcher.)

Small grab-and-go board: Danelectro Drive Pedal, Ibanez AD-9 Analog Delay, MXR Stereo Chorus, Maestro Wah/Volume Pedal.

Guitars that see the most duty: James Tyler Classic Customs, John Suhr Classics, Fender Strats, (various years) Gibson Les Pauls, Gibson SG Standard, Gibson ES-345, Gibson ES-339.

Favorite amps: VHT Pitbull 45, Fender Deluxe Reverb, THD Bi-Valve 30.

[BroncoBuff]

Originally Posted by L.A. BRONCOS FAN

I use different rigs for different jobs, but my typical setup is pretty simple these days. First rule of thumb is to keep my entire signal chain analog from start to finish.

Very interesting ... seems a bit counter-intuitive, but like we mentioned, analog has a warmth digital lacks. Similar to tubes having a warmth transistors lack.

Sometimes "progress" sucks.

Originally Posted by LABF

Two of my most frequently-used pedal boards are as follows:
Large board: Ibanez Tube Screamer, Xotic RC Booster, AYA R-Comp Compressor, Voodoo Labs Micro Vibe, (Univibe clone) Arion SCH-1 Stereo Chorus, MXR Carbon Copy Analog Delay, Electro-Harmonix Memory Man.

I know most of those pedals from the early 80s ... I bought a very early Tube Screamer, Summer '81. Seemed less of a distortion pedal, more of a booster, a grinder. Probably works great with a tube amp already on overdrive. I had an MXR Phase 90, hardly used it ... Boss chorus was the workhorse. It always seemed to me Electro-Harmonix pedals were noisy as hell, but I only tried a few. Used one on "Driven to Tears," it was great ... definitely captured the Andy Summers sound.

Was that MXR delay pedal dark greenish? Either that or light gray, one was a line-driver, the other a delay.

Originally Posted by LABF

Small grab-and-go board: Danelectro Drive Pedal, Ibanez AD-9 Analog Delay, MXR Stereo Chorus, Maestro Wah/Volume Pedal.

Cool stuff, but the variety makes my choices seem so ... pedestrian, so predictable. What Wah pedal did I have? Say it with me ... Cry Baby wah. Of course. What is that Maestro like?

Originally Posted by LABF

Guitars that see the most duty: James Tyler Classic Customs, John Suhr Classics, Fender Strats, (various years) Gibson Les Pauls, Gibson SG Standard, Gibson ES-345, Gibson ES-339.

I know you love the James Tyler, but I always thought you were a Les Paul snob. Lots of guys are, and you've never mentioned one. Again, my choices sound boring ... a black LP standard was always my go-to guitar. Was all set to put a coil tap in the neck position when that damn thing was stolen.

Originally Posted by LABF

Favorite amps: VHT Pitbull 45, Fender Deluxe Reverb, THD Bi-Valve 30.

All combos? Never would've guessed it ... I figured you for maybe a Mesa Road King head, with some kind of 4x12 cabinet.


Hey, did you ever see this post? http://www.orangemane.com/BB/showpos...1&postcount=72

My Tele i mention there is exactly like the one JP talks about, that he used on the Stairway solo ... on that model year only, 1966, the pickup switch can be set between neck and middle and it goes out of phase.

[BroncoBuff]

Quoted it wrong ... I guess all the 66 and earlier Telecasters did that according to Page.

Here's the quote from that (infamous) Guitar Player Magazine interview:

JIMMY PAGE: "The telecasters changed rapidly; you could
tell because you could split the pickups - you
know that split sound you get - and again you
could get an out-of-phase sound. and then
suddenly they didn't do it anymore. so they
obviously changed the electronics. and there
didn't seem to be any way to get it back. i tried
to fiddle around with the wiring, but it didn't
work, so i just went back to the old one again."

Read more: http://www.led-zeppelin.org/referenc...#ixzz10R9vCTtz

Looks a lot like the one used by Jimmy Page
Its like a relic from a different age
Could be ...Oo-ee

[L.A. BRONCOS FAN]

Originally Posted by BroncoBuff

I know most of those pedals from the early 80s ... I bought a very early Tube Screamer, Summer '81. Seemed less of a distortion pedal, more of a booster, a grinder. Probably works great with a tube amp already on overdrive. I had an MXR Phase 90, hardly used it ... Boss chorus was the workhorse. It always seemed to me Electro-Harmonix pedals were noisy as hell, but I only tried a few. Used one on "Driven to Tears," it was great ... definitely captured the Andy Summers sound.

My Tube Screamer is actually a TS-10 made in the late 80s but modded to vintage TS-808 specs by this guy: http://www.analogman.com/ (he makes some other really nice pedals, BTW.)

I'm using that newer EHX Stereo Memory Man pedal exclusively for the backwards echo effect (love that!) It's digital, but it lives in its own isolated, true bypass loop, so it's completely removed from my signal path when not in use.

Originally Posted by BroncoBuff

Was that MXR delay pedal dark greenish?

The analog delay?

Yes - it's sort of dark green metal flake.

Originally Posted by BroncoBuff

Cool stuff, but the variety makes my choices seem so ... pedestrian, so predictable.

Not at all, dude.

These things are all ultimately just means to an end, i.e., tools to get the job done.

The nature of that job is different for us all.

I'm sure you've seen plenty of those non-pros out there who buy gear just so they can say "look at all the cool toys I own."

That attitude is really misguided, IMO.

Bottom line: Getting YOUR sound is all that matters - even if that sound is achieved with just a guitar, a cable, and an amp. I couldn't care less how it looks, or how prestigious it is - all I care about is the sound.

Originally Posted by BroncoBuff

What Wah pedal did I have? Say it with me ... Cry Baby wah. Of course. What is that Maestro like?

How I acquired the Maestro is a weird story. I recently re-connected with an old drummer friend I hadn't seen in ~25 years. This guy had been keeping the Maestro pedal in his garage for 25 years because he thought it was mine and that I had left it at his house! When I assured him the pedal didn't belong to me, he insisted I take it anyway. Anyway, when I got home, I plugged the pedal in and was floored by how great it sounded. Nailed the vintage sounds you would associate with Trower, Hendrix, Marino, et al. I immediately ditched the Crybaby pedal I was using and replaced it with the Maestro.

Originally Posted by BroncoBuff

I know you love the James Tyler, but I always thought you were a Les Paul snob. Lots of guys are, and you've never mentioned one.

Not me - I'm a Strat guy, through and through. When I pick up a Gibson, it's usually because a producer asks for it, or because it fits a specific part or track.

Originally Posted by BroncoBuff

All combos? Never would've guessed it ... I figured you for maybe a Mesa Road King head, with some kind of 4x12 cabinet.

I've thinned the herd considerably where bigger concert rigs are concerned because it's easier just to use the back line provided by most promoters at larger gigs. Plus, traveling with any sort of extra freight is sort of a thing of the past in the post-9/11 world.

As for Mesa - never been a fan (early MK-II combos are the exception.)

I'm more of a single-ended class A (or class A/B in the case of vintage Fenders) man.

Originally Posted by BroncoBuff

Hey, did you ever see this post? http://www.orangemane.com/BB/showpos...1&postcount=72

Looks like the image link is dead.

[BroncoBuff]

Originally Posted by L.A. BRONCOS FAN

Looks like the image link is dead.

Just recounting the story behind the Jimmy Page-described Telecaster I once owned, in the pic above.

You say "anything that gets the job done" fine, but you are a purist. I recall recommending this Line 6 combo amp to Requiem, because it had 7 effects on board and was just $250. But you were adamant, "you want the proper tone, spend a bit more for the tube amp, and get the effects later." You're a professional, so that's correct ... but Req is still a kid, he wants the "cool" echo and distortion

Here's a Line 6 you might even like. Kind of. It's a 6L6-12AX7 valve combo. Actually, you wouldn't like it, the effects are digital.

[L.A. BRONCOS FAN]

Originally Posted by BroncoBuff

Just recounting the story behind the Jimmy Page-described Telecaster I once owned, in the pic above.

You say "anything that gets the job done" fine, but you are a purist. I recall recommending this Line 6 combo amp to Requiem, because it had 7 effects on board and was just $250. But you were adamant, "you want the proper tone, spend a bit more for the tube amp, and get the effects later." You're a professional, so that's correct ... but Req is still a kid, he wants the "cool" echo and distortion

Here's a Line 6 you might even like. Kind of. It's a 6L6-12AX7 valve combo. Actually, you wouldn't like it, the effects are digital.

Wow - I forgot about that.

What did he end up getting, anyway?

On the real side, unless you're a working pro, there's no "correct" choice - just whatever brings you the most enjoyment.

I would still recommend starting with the best guitar/tube amp combo within your means just to establish a baseline or "ground zero" for pure, unadulterated guitar tone. Then, when you start adding effects, you can really hear what a given effect does (if anything) to the integrity of your sound.

I think it was Trower who once told an interviewer "I already like the sound of the guitar - all I want to do is amplify it."

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