Sound is NOT in the Fingers.
ott...@hotmail.com
band with Ed Bickert on it. It covers airplay from the years 1959 until
1964.
Ed is pictured with a P90 ES175 and an Ampeg amp.
On all the tracks before 1964 his sound is somewhat early Jim Hall-ish
in comping and the solos sound a bit like Ed, but not as sweet.
>From the 1964 and later dates he Sounds like the Ed we know and love,
and his chord voicings are more interesting, so the Tone is in the
Tele:):)
I've noticed that when playing my ES125 that I can't get away with the
same voicings that sound fine on a solid body, unles the 125 tone pot
is full open. The archtop is just too muddy on the Bottom unless it's a
2 pickup version.
I guess I'm in trouble now,,,,,,,,,,,,,
Bg
tomb...@jhu.edu
That classic jazz guitar site used to have a clip of Ed playing with
Moe Kaufman back in in the late 50s, and he definitely had an
archtop-into-tube-amp tone going on.
I agree with you about voicings. Solid-bodies have a totally different
vibe that makes me play different chord voicings.
I kind of have a continuum. On a traditional Spanish classical guitar,
I keep voicings very basic--shells, drop 2s, etc. On an archtop, I can
get a little denser. But the tele is the most useful chordal guitar,
where you can play any type of voicing and make it blend, in any
register.
Tim McNamara
"tomb...@jhu.edu" <tomb...@jhu.edu> wrote:
I was about to say "maybe that explains some of Ted Greene's voicings in
_Chord Chemistry_" but then I thought about Tal Farlow's chord voicings.
tomb...@jhu.edu
> >
> > I kind of have a continuum. On a traditional Spanish classical
> > guitar, I keep voicings very basic--shells, drop 2s, etc. On an
> > archtop, I can get a little denser. But the tele is the most useful
> > chordal guitar, where you can play any type of voicing and make it
> > blend, in any register.
>
> I was about to say "maybe that explains some of Ted Greene's voicings in
> _Chord Chemistry_" but then I thought about Tal Farlow's chord voicings.
I think the biggest difference is in the high register. Ted's harmonic
vocabulary goes way up past the 12th fret, much more than your average
archtop player. Chords still sound good on a tele up there. Not so much
on the archtop.
I don't really get your point about Tal?
Jack A. Zucker
--
http://www.myspace.com/jackzucker
http://www.sheetsofsound.net
<ott...@hotmail.com> wrote in message
news:1154994310.7...@h48g2000cwc.googlegroups.com...
Tim McNamara
"tomb...@jhu.edu" <tomb...@jhu.edu> wrote:
Ted's book uses a lot of 5 and 6 string voicings with lots o'
extensions, which perhaps work better on a solid body than they do on my
archtop. I find that lots of the voicings in that book sound fairly
awful to my ears. But, then I though, Tal used lots of full, unusual
voicings with lots o' extensions on his archtop and sounded great- so
maybe it's just my touch that's lacking...
Jack Zucker
fingers. Nobody would ever suspect him of playing a semi-hollow on
that. Also , listen to Richard Bornman's playing on a Squier Strat.
SOUND IS IN YOUR FINGERS!
I'm as guilty as the next bloke when it comes to buying/selling guitars
but really the whole gear aquisition thing is a distraction . I think
Richard and Rodney prove beyond a reasonable doubt that the music comes
from within and not the gear...
tom walls
j...@jackzucker.com says...
> I think Rodney Jones' Live At Smoke is evidence that sound is in your
> fingers. Nobody would ever suspect him of playing a semi-hollow on
> that. Also , listen to Richard Bornman's playing on a Squier Strat.
>
> SOUND IS IN YOUR FINGERS!
HYPERBOLE ALERT!
>
> I'm as guilty as the next bloke when it comes to buying/selling guitars
> but really the whole gear aquisition thing is a distraction . I think
> Richard and Rodney prove beyond a reasonable doubt that the music comes
> from within and not the gear...
>
>
Nevertheless, if they pick up a fat tele with roundwound 10s with the
controls wide open, they're going to sound quite different than if they
play a Samick HJ650 with Chrome 12s. With a pick, with fingers, with
nails, with flesh, single note lines, comping: different. I have it on
good authority.
--
Tom Walls
the guy at the Temple of Zeus
Jack Zucker
> Nevertheless, if they pick up a fat tele with roundwound 10s with the
> controls wide open, they're going to sound quite different than if they
> play a Samick HJ650 with Chrome 12s. With a pick, with fingers, with
> nails, with flesh, single note lines, comping: different. I have it on
> good authority.
Marginally different I'll concede.Bornman uses light guage strings on a
squier tele. Would anybody ever guess that?
pmfan57
He does use pretty high action though. Tension is pretty high too.
tom walls
j...@jackzucker.com says...
Gerry
Zucker <j...@jackzucker.com> wrote:
I totally agree. I've often thought that if one holed-up with a single
decent guitar (Kessel, for example), all the days of their life and
never thought about the mechanical details and options, that they'd
gain back a good 20% of their focus and energy to pursue music. But
even so, it's easy to get distracted...
I think on a tele with high action or a L4 with low action--a player is
a player and a collector is a collector.
--
The cure for boredom is curiosity. There is no cure for curiousity. -- Dorothy
Parker