I posted something about this in another thread but felt that it was worth creating a new thread about. Aside from the fact that he used a lot of close voicing piano like stretch chords, a large part of Johnny Smith's beautiful, fat sound was a combination of him using his Gibson Johnny Smith model with the suspended pick up and his Ampeg Fountain Of Sound amplifier. That particular tube amp laid on its' back suspended above the floor on short legs so that the sound shot straight up in the air like a fountain! Couple that unique combination with a musical genius who has perfect pitch and perfect technique and you have Johnny Smith - the John Williams of the pickstyle jazz guitar! Steven Herron Peabody Conservatory Trained Guitarist http://www.chordmelodyguitarmusic.com/Johnny-Smith-guitar-tab-tablatu...
> I posted something about this in another thread but felt that it was worth creating a new thread about. Aside from the fact that he used a lot of close voicing piano like stretch chords, a large part of Johnny Smith's beautiful, fat sound was a combination of him using his Gibson Johnny Smith model with the suspended pick up and his Ampeg Fountain Of Sound amplifier. That particular tube amp laid on its' back suspended above the floor on short legs so that the sound shot straight up in the air like a fountain! Couple that unique combination with a musical genius who has perfect pitch and perfect technique and you have Johnny Smith - the John Williams of the pickstyle jazz guitar!
On Wednesday, September 19, 2012 10:37:33 PM UTC-4, Steve wrote:
> I posted something about this in another thread but felt that it was worth creating a new thread about. Aside from the fact that he used a lot of close voicing piano like stretch chords, a large part of Johnny Smith's beautiful, fat sound was a combination of him using his Gibson Johnny Smith model with the suspended pick up and his Ampeg Fountain Of Sound amplifier. That particular tube amp laid on its' back suspended above the floor on short legs so that the sound shot straight up in the air like a fountain! Couple that unique combination with a musical genius who has perfect pitch and perfect technique and you have Johnny Smith - the John Williams of the pickstyle jazz guitar!
He also played a Guild at times. There was a guy on here a while back who studied and played with some in Colorado.If anyone remembers who he was he could possibly let us know if Johnny needed the particular rig that is mentioned or if he could get his sound by various methods.
Charlie
On Wednesday, September 19, 2012 10:37:33 PM UTC-4, Steve wrote:
> I posted something about this in another thread but felt that it was worth creating a new thread about. Aside from the fact that he used a lot of close voicing piano like stretch chords, a large part of Johnny Smith's beautiful, fat sound was a combination of him using his Gibson Johnny Smith model with the suspended pick up and his Ampeg Fountain Of Sound amplifier. That particular tube amp laid on its' back suspended above the floor on short legs so that the sound shot straight up in the air like a fountain! Couple that unique combination with a musical genius who has perfect pitch and perfect technique and you have Johnny Smith - the John Williams of the pickstyle jazz guitar!
JS used the FOS amp only on live gigs. A good friend of mine played bass with him on some gigs and knew Jess Oliver, the electronics genius behind the FOS and the Ampeg B-15 bass amp.
On most of the Roost recordings of the 1950s, this is my best estimation of how he got that incredible sound (leaving out his technical and musical mastery of the guitar):
He plugged his D'Angelico into a pre-amp, and then directly into the board, without using any amplifier.
I'm pretty sure he used a DeArmond pickup, but I don't think the 1100 was invented yet.
I implore any JS expert out there- JG, Rick Ireland (whatever happened to him?)or whomever, to either add or correct this.
Steve,
I've searched the ChordMelody site for Stacy McKee's JS transcriptions, and all I've come up with is a huge list of Stacy McKee arrangements. Could you tell me where the JS ones are? Thanks.
I have wrote about this in the past but Johnny let me play his D'angelico when I was at his shop in 1979 that summer. I must say it was beautiful and had flatwound strings, which I do not like, but through an amp or direct it makes for a great sound.
Johnny was a gentleman in every respect and treated an 18 year old jazz guitar learner/player like gold. I had my Barker with me and he played it too. Told me to never part with it, it was a great guitar and the prices of Gibson were going to skyrocket. So far I have taken his advice the Barker is still here playing great. He also explained how he wanted the JS Gibson built because it was something the old builders did and both Barker and Hollenbeck agreed with his thinking for the most part. Johnny is an excellent repairmen I might add even told me how he set intonation without ever using a tuner. The Man Had Ears!
On Thursday, September 20, 2012 3:05:29 PM UTC-5, van wrote:
> On Wednesday, September 19, 2012 10:37:33 PM UTC-4, Steve wrote: > I posted something about this in another thread but felt that it was worth creating a new thread about. Aside from the fact that he used a lot of close voicing piano like stretch chords, a large part of Johnny Smith's beautiful, fat sound was a combination of him using his Gibson Johnny Smith model with the suspended pick up and his Ampeg Fountain Of Sound amplifier. That particular tube amp laid on its' back suspended above the floor on short legs so that the sound shot straight up in the air like a fountain! Couple that unique combination with a musical genius who has perfect pitch and perfect technique and you have Johnny Smith - the John Williams of the pickstyle jazz guitar! > > Steven Herron > > Peabody Conservatory Trained Guitarist > > http://www.chordmelodyguitarmusic.com/Johnny-Smith-guitar-tab-tablatu... JS used the FOS amp only on live gigs. A good friend of mine played bass with him on some gigs and knew Jess Oliver, the electronics genius behind the FOS and the Ampeg B-15 bass amp. On most of the Roost recordings of the 1950s, this is my best estimation of how he got that incredible sound (leaving out his technical and musical mastery of the guitar): He plugged his D'Angelico into a pre-amp, and then directly into the board, without using any amplifier. I'm pretty sure he used a DeArmond pickup, but I don't think the 1100 was invented yet. I implore any JS expert out there- JG, Rick Ireland (whatever happened to him?)or whomever, to either add or correct this. Steve, I've searched the ChordMelody site for Stacy McKee's JS transcriptions, and all I've come up with is a huge list of Stacy McKee arrangements. Could you tell me where the JS ones are? Thanks.
Hi Van,
If you have a fax number I can fax you the list. We don't have those up on the website yet.
Steven Herron
On Thursday, September 20, 2012 9:15:11 PM UTC-4, Steve wrote:
> On Thursday, September 20, 2012 3:05:29 PM UTC-5, van wrote:
> > On Wednesday, September 19, 2012 10:37:33 PM UTC-4, Steve wrote: > I posted something about this in another thread but felt that it was worth creating a new thread about. Aside from the fact that he used a lot of close voicing piano like stretch chords, a large part of Johnny Smith's beautiful, fat sound was a combination of him using his Gibson Johnny Smith model with the suspended pick up and his Ampeg Fountain Of Sound amplifier. That particular tube amp laid on its' back suspended above the floor on short legs so that the sound shot straight up in the air like a fountain! Couple that unique combination with a musical genius who has perfect pitch and perfect technique and you have Johnny Smith - the John Williams of the pickstyle jazz guitar! > > Steven Herron > > Peabody Conservatory Trained Guitarist > > http://www.chordmelodyguitarmusic.com/Johnny-Smith-guitar-tab-tablatu... JS used the FOS amp only on live gigs. A good friend of mine played bass with him on some gigs and knew Jess Oliver, the electronics genius behind the FOS and the Ampeg B-15 bass amp. On most of the Roost recordings of the 1950s, this is my best estimation of how he got that incredible sound (leaving out his technical and musical mastery of the guitar): He plugged his D'Angelico into a pre-amp, and then directly into the board, without using any amplifier. I'm pretty sure he used a DeArmond pickup, but I don't think the 1100 was invented yet. I implore any JS expert out there- JG, Rick Ireland (whatever happened to him?)or whomever, to either add or correct this. Steve, I've searched the ChordMelody site for Stacy McKee's JS transcriptions, and all I've come up with is a huge list of Stacy McKee arrangements. Could you tell me where the JS ones are? Thanks.
> Hi Van,
> If you have a fax number I can fax you the list. We don't have those up on the website yet.
> Steven Herron
What if you post it here? You might get some more sales: )
On Thursday, September 20, 2012 3:05:29 PM UTC-5, van wrote:
> JS used the FOS amp only on live gigs. A good friend of mine played bass with him on some gigs and knew Jess Oliver, the electronics genius behind the FOS and the Ampeg B-15 bass amp.
> On most of the Roost recordings of the 1950s, this is my best estimation of how he got that incredible sound (leaving out his technical and musical mastery of the guitar):
> He plugged his D'Angelico into a pre-amp, and then directly into the board, without using any amplifier.
> I'm pretty sure he used a DeArmond pickup, but I don't think the 1100 was invented yet.
> I implore any JS expert out there- JG, Rick Ireland (whatever happened to him?)or whomever, to either add or correct this.
I can't say for sure, but here's my take, which is only an opinion...on Roost 2203 (The Johnny Smith Quartet)--probably my favorite JS album--and JS Foursome Volume One, he was plugged into the board. In fact the liner notes on 2203 even mention it as the first time this was ever done. If you notice or listen, the guitar tone on these two albums is not as "pure" as on other albums; it seems to have more reverb and the articulation seems more "clipped," which I attribute to early technology all the way around: pickup, cords from the guitar to the board, etc. Still, I am not an electronics/recording expert.
I also recall seeing a photo of one of the quartet recording sessions where there's clearly a mic in front of the amp. So, I don't think he used the direct process on all of his recordings.
Now that I think about it, JS wrote the liner notes on Reminiscing (the one recorded in a neighbor's living room) and he describe everything down to the type of microphones on how that was recorded.
On Friday, September 21, 2012 11:55:57 PM UTC-4, (unknown) wrote:
> On Thursday, September 20, 2012 3:05:29 PM UTC-5, van wrote: > JS used the FOS amp only on live gigs. A good friend of mine played bass with him on some gigs and knew Jess Oliver, the electronics genius behind the FOS and the Ampeg B-15 bass amp. > > On most of the Roost recordings of the 1950s, this is my best estimation of how he got that incredible sound (leaving out his technical and musical mastery of the guitar): > > He plugged his D'Angelico into a pre-amp, and then directly into the board, without using any amplifier. > > I'm pretty sure he used a DeArmond pickup, but I don't think the 1100 was invented yet. > > I implore any JS expert out there- JG, Rick Ireland (whatever happened to him?)or whomever, to either add or correct this. > I can't say for sure, but here's my take, which is only an opinion...on Roost 2203 (The Johnny Smith Quartet)--probably my favorite JS album--and JS Foursome Volume One, he was plugged into the board. In fact the liner notes on 2203 even mention it as the first time this was ever done. If you notice or listen, the guitar tone on these two albums is not as "pure" as on other albums; it seems to have more reverb and the articulation seems more "clipped," which I attribute to early technology all the way around: pickup, cords from the guitar to the board, etc. Still, I am not an electronics/recording expert. I also recall seeing a photo of one of the quartet recording sessions where there's clearly a mic in front of the amp. So, I don't think he used the direct process on all of his recordings. Now that I think about it, JS wrote the liner notes on Reminiscing (the one recorded in a neighbor's living room) and he describe everything down to the type of microphones on how that was recorded. John Galich
Thanks for the info, John.
I'm reading the liner notes for 2203 and 2223, and it's just as you say, but he does say on 2223 "that, owing to the string noises of the guitar, the solos on this AND OTHER ALBUMS were recorded with the guitar connected directly into the recording console, thus eliminating the majority of these extraneous sounds." So probably everything after 2203 was recorded without an amp.
You can tell he probably used an amp on the "Jam Session" LP, because the sound is completely different from the sound on 2203 and beyond.
The only ones who know about the pre-amp are people who were on the scene back then.
