Jerry Garcia's Guitars???
Gautama2
on his first Irwin guitar back in the seventies?
-Steve
Steve Weiss
I believe they were some form of DiMarzio- Super II or Something II or
something like that. According to something I read somewhere, he changed
them every three years because he felt they lost output in that time.
-(not the same) Steve
--
"If you watch TV news, you know less about the world than if you just
drank gin straight from the bottle." - Garrison Keillor
CSMorris
played...or a description of the specs for his custom guitars?
Thanks,
Chris
AC DEDHED
i know his last guitar was custom
made by doug irwin, who lives in fla.
dan-o
Mathias
This information I had in 1994 regards the guitars from the early 90's. I'm
sure of this information since the person who told me this was very closed
to the band and provided me several backstage passes....
For the guitars before these 90's years, I have no idea if it was the same
shop.
Regards,
Mathias ( Excuse my english - I'm french)
CSMorris a écrit dans le message
<19990518021823...@ng-cr1.aol.com>...
jolnick
comes up pretty frequently......
Joe
from the <ftp://gdead.berkeley.edu> archive:
>
> From: pharrer <p_ha...@bc.sympatico.ca>
> Subject: Jerry's Gear
> Date: Sun, 29 Mar 1998 01:28:18 -0800
>
> Here's and attempt to condense a vast, yet very interesting subject.
> According to Steve Parish, his longtime guitar tech, Jerry had about
25
> guitars, but 70% of his time in the spotlight he played just 3, all
> custom built by the same luthier. His first was a Danelectro (age
15).
> His acoustic in the days with Robert Hunter prior to his switch to
the banjo
> is uncertain. With the Warlocks in '65 he used a red Guild Starfire,
> also used on the 1st Dead albumn. After a series of Gibsons SGs, Les
> Pauls, and a couple of Teles (+ a Strat the "Alligator" from Graham
> Nash) he declared: "I don't like any guitars that are available. I'm
> trying to have a guitar built." Hence, the Travis Bean. He laughed
upon
> first seeing it, but quickly changed his mind when he tried the
custom
> aluminum-neck guitar made in San Francisco.
>
> In '72 he received the his first custom Doug Irwin (Sonoma, CA)--the
"Wolf".
> Description: 25.5 in maple neck, 24 fret ebony fingerboard, blonde
> Western "quilted" maple body with at purpleheart (amaranth) core.
Guts
> like a Strat, but with a clever effects bypass circuit Jerry
designed
> himself. He used the Alligator, Bean, and Wolf exclusively up to
'78. In
> the late 80's Jerry mounted a GK-7 synth interface on the Wolf.
Mated to
> the GK-50 controller, this allowed him to sound like a trumpet
player
> and bass flautist. San Francisco repair expert Gary Brawer later
retrofitted
> it internally.
>
> But still not completely satisfied, Irwin delivered him the "Tiger"
> (pearl coverplate) Description: Seven years to make, ebony
fingerboard
> on maple neck, an arched cocobola top and back, vermilion neck and
body
> striping, and W. flamed-maple body core. Meticulous scrolled inlay
> finger position markers and hand-crafted brass hardware; Strat
approach,
> but with one DiMarzio SDS-1 single coil and two DiMarzio Super 2
> humbuckers that were easily removed 'cause Jerry thought their ouput
> weakened after a year or two. Also had Jerry's effects bypass loop
(he
> knew his electronics!), as well as an op-amp buffer/amp to maintain
the
> high end during effects "on". Result: Garcia's favorite guitar for
the
> next ll years & most played. In 1990 Garcia changed guitars when
Irwin
> completed "Rosebud" named for the inlaid dancing skeleton on the
ebony
> coverplate. Lighter than the Tiger, it became his fulltime Dead
guitar,
> but he used the Tiger in the JGB for a another year.
>
> Then in '93 came the coup de gras: Deadhead woodworker Stephen Cripe
> from Florida custom built the "Lighting Bolt" using photos of the
Tiger and
> a well worn "Dead Ahead" video. He fashioned the body out of a peice
of
> E. Indian rosewood recycled from a small 19th-cent. Asian bed for
opium
> smokers. Built "totally by feel", the cocobola through-body neck has
a
> recycled Brazilian rosewood fingerboard (note: Jerry's interest in
the
> rain forest) with an unusual accuracy in the higher end allowing him
to
> play where he usually avoided. Predictably, Garcia made a few
intonation
> changes and installed a Roland MIDI system. In April of '95 Jerry
> ordered the backup "Top Hat". Others:
>
> Guitar Year Played On
> Martin D-18 "American Beauty", "Wokingman's Dead"
> ZB pedal steel 70-74
> Takamine acoustics 1980 acoustic shows & benefits
> Alvarez-Yairi "Garcia/Grisman" + live shows
>
> Jerry used "Rosebud" at the last Grateful Dead show in Chicago. On
Aug 4, 1995
> Jerry recorded "Blue Yodel # 9" using a mint condition 1939 Gibson
Super
> 400N acoustic that seen in the video for the movie "Smoke". Its
likely
> the last guitar Jerry ever graced... (Source: Guitar Player, Dec.
'95
>
> Footnote: At the '94 Seattle show I witnessed near the stage, I
noticed
> Garcia was using Boss footpetals (distortion, delay, etc) mounted
> vertically behind him.
----------------------------------------------------------------------
---------------------------
And now, a collection of stuff I found, mostly from Guitar Player:
In a nutshell, a Fender Twin guitar amp (or a unit capable of
emulating it
well) was a major part of his sound. Combined with Boss Effects, a
couple
Lexicons, and the Mutron III envelope filter (the wah-wah sound in
Estimated
& Shakedown), and you'll should be able to get close.
His guitars in the '60's varied, but usually was a black Gibson Les
Paul,
with P90 single-coil pickups. In the early 70's, he moved to a stock
tobacco sunburst Fender Stratocaster, and a Vox wah-wah. By this
point,
his silverface Fender Twin amp was already a central part of his
sound. He
continued to use the preamp from the Fender amp through 1993. From
the
late '70's to about 1993 he didn't use the power amp & speakers of the
Fender, instead using three JBL D120 speakers in a vertical box
powered by a McIntosh tube amp (note that this probably made the power
amp
Class A, which is not the Class AB power amp that the Fender normally
has).
It was miked with a Sennheiser 421 mic.
In 1974, he used his first Doug Irwin custom-made guitar, which is
essentially a modified, upscale Strat. The major change was the
preamp
built into the guitar, and the effects return, so that the volume
knobs
changed the volume after effects, not the usual before. He used this
in
all of his guitars afterwards.
In 1977, he was using a Travis Bean, which had an aluminum neck. It
was
retired after a while because of the tuning problems that the neck
created.
In 1978 or so, he received the Tiger, a custom-made Doug Irwin guitar
that
was his exclusive electric through 1990 or so. It had two DiMarzio
Dual
Sound pickups and a neck single coil DiMarzio SDS-1, wired like a
Strat.
He could turn the double-coils into single-coils by switches, as well
as
change whether they were in phase or not. This was another feature he
continued to use in all of his subsequent guitars.
Around 1990, Rosebud, another custom-made Doug Irwin guitar with the
skeleton wearing a skirt near the bridge showed up. Essentially a
slightly
lighter version of the Tiger, with the MIDI pickup built in.
In the early 1990's, Garcia received a guitar from Steve Cripe, with a
Lightning Bolt on the side, near the bridge. He liked it a lot and
used it
from 1993 on. It had an acoustic piezo pickup built in, as well as
the
rest. By this time, Garcia was using three DiMarzio Super 2
humbuckers.
Same wiring otherwise.
The final show, by the way, had Garcia using Rosebud, as Lightning
Bolt was
getting a new bridge. Cripe had built another back-up for Lightning
Bolt,
but to my knowledge was never publicly used.
Effects used during the early '70's were limited mostly to the Vox
wah-wah
pedal being occasionally used. By the late '70's, he was using the
Mutron
envelope filter (which was used for Estimated, Shakedown, etc.), and
he
continued to use it until the very end.
By the mid-late '80's, his effects consisted of mostly Boss effects:
Octave
Divider, Turbo Overdrive, Super Overdrive, EQ's, etc. in two effects
loops.
He also used some extremely expensive Lexicon (probably a PCM-42 or
PCM-60, with a PCM-70) reverb/delay units in the rack behind him;
these
are studio units. A vintage, script MXR Phase 90 was occasionally
used.
I believe the Lexicons came after the preamp, whereas the pedals came
before, but I'm not 100% certain on that.
By 1993, he was using these effects, but supposedly used a TRIO preamp
to go
direct to the soundboard, when all of the power amps & speakers were
removed
from the stage. They used in-the-ear monitors instead of floor
monitor
wedges.
I've seen pictures of the last couple tours, and it appears that he
was
using some Groove Tubes rack units, as well as a Real Tube Reverb
unit. But
I can't say for sure these were actually used regularly. He was
constantly
trying out new stuff. I have no information on his MIDI unit &
synths, but
they were probably Roland.
If you would like more information on the band's equipment, check out
the
DeadNet Central section of their official web site. Also, check out
your
guitar/music shops for back issues of Guitar Player and other Guitar
magazines. There were a few special issues put out right after
Garcia's
death that detailed the rigs of Garcia, Weir, and even Lesh.
I hope this helps! Let me know if you have any more questions.
Joe
Steven D. Dolley
>i know his last guitar was custom
>made by doug irwin, who lives in fla.
>
>dan-o
Actually, his last guitar ("Lightning Bolt") was custom made as a gift to
Jerry by the late Steve Cripe, modeled on the Doug Irwins. Cripe designed
and built the guitar based only on photos of the Irwins. Pretty amazing.
Steve
jolnick
Again, why hasn't Parish put this on the Dead's web site, once and for
all? There's a lot of technical info regarding his setup that only he
could really answer.
By the way, has anybody seen the backup for Lightning Bolt? The one
Garcia never played. Was it ever finished?
Joe
Steven D. Dolley
jolnick wrote in message ...
>Again, why hasn't Parish put this on the Dead's web site, once and for
>all? There's a lot of technical info regarding his setup that only he
>could really answer.
You're assuming Parish gives a shit about the web site...I bet he doesn't!
Anyone heard anything recent about Doug Irwin getting custody of the
guitars, as willed to him by Jerry's estate? Last I heard he couldn't
afford the inheritance taxes. A real shame...I bet Jerry would have taken
care of that if he'd thought of it.
Steve
Originator
jolnick wrote in message ...
>comes up pretty frequently......
>from the <ftp://gdead.berkeley.edu> archive:
>
>>
>> From: pharrer <p_ha...@bc.sympatico.ca>
>> Subject: Jerry's Gear
>> Date: Sun, 29 Mar 1998 01:28:18 -0800
>>
he declared: "I don't like any guitars that are available. I'm
>> trying to have a guitar built." Hence, the Travis Bean. He laughed
>upon
>> first seeing it, but quickly changed his mind when he tried the
>custom
>> aluminum-neck guitar made in San Francisco.
WRONG! Travis Bean was off the shelf, not custom made...or as garcia
himself said (he briefly endorsed them: "The best damn production guitar out
there.")
best regards,
guiteye
jolnick
believe even endorsed for a period of time.
Thanks for the correction; perhaps someday we'll get this right!
A little assistance from the folks at GDP (that definitely know) would
really help out here......hint...hint.....
Joe
Dan S.
1st guitar - Danelectro
Warlocks '65 - Guild Starfire
between 65-71 - Les Paul's, SG's, Start's and Tele's
'71 - Travis Bean, and a Strat "Alligator"
'72 - "Wolf" his 1st Irwin
late '78 or early '79 (not sure) - "Tiger" his 2nd Irwin. 1 DiMarzio
SDS-1,
2 DiMarzio Super
Humbuckers
'90 - "Rosebud" his 3rd Irwin.
'93 - "Lightning Bolt" Stephen Cripe
'95 - "Top Hat" Stephen Cripe
7/9/95 - "Rosebud" last guitar Garcia played live
late July - '39 Gibson Super 400N. Last guitar he played.
Hope this helps.
Edwin Hurwitz
<oln...@bigfoot.com> wrote:
> From
> the
> late '70's to about 1993 he didn't use the power amp & speakers of the
> Fender, instead using three JBL D120 speakers in a vertical box
> powered by a McIntosh tube amp (note that this probably made the power
> amp
> Class A, which is not the Class AB power amp that the Fender normally
> has).
> It was miked with a Sennheiser 421 mic.
Just a minor correction:
Early on he used a Mac tube amp (reportedly the MC 275) but for the
most part it was a MC 2300, a stereo solid state power amp with 300
wpc. This was the model that powered the Wall of Sound and that Phil
used until the advent of the Crest amps.
Edwin
jolnick
Some detailed info on the electronics/effects/amps would really be
great? What was the signal paths for the effects; what mods were done
to the Fender, etc. What tubes were used? What Lexicons was he using
in the late '80's?
Did he really use DaVinci strings & Adams 2mm graphite picks? When?
What gauge were the strings?
This is the kind of stuff I've been trying to get info on for
years.......any help is always appreciated.....
Joe
jolnick
you have info otherwise.
The Sunshine Daydream & Europe '72 videos show Jerry playing Fender
Strats. The Wolf showed up later (definitely by the end of '73). Was
there a period were he alternated between them? It seems possible.
I don't believe the Travis Bean arrived until '75? At the SNACK
benefit?
Joe
------------------------
jolnick
That's surprising. How do you know this? Just curious. I haven't
been able to locate pics with a clear shot of the model numbers.
It was a Class A amp, either way, right? That would seem to be
important, as it would be different than the stock power amp in Fender
Twins, resulting in a slightly different sound.
Joe
Edwin Hurwitz <ed...@indra.com> wrote in message
news:200519990333427135%ed...@indra.com...
> In article <W7f03.1929$an5.15...@dca1-nnrp1.news.digex.net>,
jolnick
> <oln...@bigfoot.com> wrote:
>
> > From
> > the
> > late '70's to about 1993 he didn't use the power amp & speakers of
the
> > Fender, instead using three JBL D120 speakers in a vertical box
> > powered by a McIntosh tube amp (note that this probably made the
power
> > amp
> > Class A, which is not the Class AB power amp that the Fender
normally
> > has).
> > It was miked with a Sennheiser 421 mic.
>
Edwin Hurwitz
also uses) and strings is true. The first shows I saw (6/11/76, etc)
featured the Bean. It was a sound I didn't much care for and tapes bear
that out. I don't think he brought the Wolf to the east coast much
after the advent of the Bean, but I could be mistaken.
In article <lGV03.1045$zW.106...@dca1-nnrp1.news.digex.net>, jolnick
Edwin Hurwitz
the "To," "Cc," and "Newsgroups" headers for details. ]]
I used to read a lot of interviews in the 70s and at shows I was able
to get close enough to the stage to see the amps. These are the ones
alright. There is a description of most Mac amps at
http://www.sundial.net/~rogerr/amplif2.htm#mc2300
As far as topology goes, I am pretty sure it is class B, as that's what
the similar amps of the day were, including my MC2105 of the same
vintage. the real advantage of this amp over the Fender power section
is that it is much more powerful and the distortion is much more
controllable. the Fender is around 100 watts at best and the Mac is 6
times that. It also can run into many different impedances due to its
output transformers. Th output transformers also retain the tube
warmth. Here is a quote from Bear about this subject:
-------------------
I think that what you lke about the sound of the
Fenders is the way tube-type amps distort the sound. The principal
harmonics are even-order, and therefore more "musical" (octaves) than
the way that most transistor amps clip (odd as well as even). The
transistor amps which use push-pull design and output matching
transformers, particularly the MosFet type have very similar sound to
that of the tube type. The Macintosh 2300 was such an amp, we used
them for years in the instrumants and PA. John Meyer says that he can
build a circuit which can duplicate the sound of any amp.
--------------------
I hope this sheds some light on the subject!
Edwin
PS I remember seeing Papa John Creach back in 1981 and his stage rig
was culled from old Jefferson Airplane gear and it still had the tie
dye and yeelow flight cases and right in the middle, a Mcintosh 2300!
In article <RKV03.1047$zW.118...@dca1-nnrp1.news.digex.net>, jolnick
<oln...@bigfoot.com> wrote:
> Edwin,
>
> That's surprising. How do you know this? Just curious. I haven't
> been able to locate pics with a clear shot of the model numbers.
>
> It was a Class A amp, either way, right? That would seem to be
> important, as it would be different than the stock power amp in Fender
> Twins, resulting in a slightly different sound.
>
>
> Joe
>
>
>
> Edwin Hurwitz <ed...@indra.com> wrote in message
> news:200519990333427135%ed...@indra.com...
> > In article <W7f03.1929$an5.15...@dca1-nnrp1.news.digex.net>,
> jolnick
> > <oln...@bigfoot.com> wrote:
> >
> > > From
> > > the
> > > late '70's to about 1993 he didn't use the power amp & speakers of
> the
> > > Fender, instead using three JBL D120 speakers in a vertical box
> > > powered by a McIntosh tube amp (note that this probably made the
> power
> > > amp
> > > Class A, which is not the Class AB power amp that the Fender
> normally
> > > has).
> > > It was miked with a Sennheiser 421 mic.
> >
jolnick
Thanks again! Yep, the MC 2300 looks like it, alright! 600 watts
bridged; that's power!
I did not know that about McIntoshes being Class B; I always thought
they were all Class A. That's surprising.
I do know that they have to be literally the heaviest amps I ever
tried to move around.....as good, powerful amps tend to be.
So Garcia used a Fender Twin tube preamp into a Class B solid-state
power amp. I'll add this one to the archives.....
Thanks again,
Joe
Steven D. Dolley
Here are the specs for the MC 2300 power amp that Jerry used...I got it from
a newsgroup posting by a guy who was selling one in January. (He wanted
best offer over $2000...don't know how widely available they are.) Pretty
wild that it can handle output impedences down to 0.5 ohms!
If you're thinking of adding one to your rig, note (in addition to the
2-grand + used price tag) that they weigh 128 pounds. I've seen interviews
with former GD crew members who speak with a shudder of the "Macintosh
Test"...a macho challenge whereby a crew member had to carry one of these by
himself or be subject to derision and ridicule ... which, coming from the
likes of Parish and Kidd, could be pretty harsh!
Steve Dolley
Bass Player, Liquid Lobster
http://www.mindspring.com/~liquidlobster/
MC 2300 Stereo Power Amplifier
ELECTRICAL: 300w/ch. (600w mono). Response 20-20kHz
(+0 -0.5dB). Distortion 0.25%. Noise and hum -90dB.
Output
impedance 0.5, 1, 2, 4, 8 and 16 ohms. (0.25, 0.5, 1, 2,
4 and
8 ohms in mono). Damping factor 14 or greater. Input
impedance 200k. Input sensitivity 0.5v. Sentry Monitor.
FRONT PANEL: Anodized gold and black panel. Power level
(meters read +3 at 300w). Gain controls. Meter range
sw: -20,
-10, 0, and off. Power sw: on or off. Handles.
BACK PANEL: Output barrier strips. Audio inputs. Mode
sw:
stereo or mono. Circuit breaker. Dual cooling fans.
Size 19" rack mounting. 10-1/2"H and 17"D. Weight 128 lb
Sold from 1971-1980. Last retail price $1799.00
Kadlecik
Jerry began adding an insert point for an effects loop on his guitars between
the pickup selector/low pass array and the volume pot. That is what the extra
cord coming out his guitars were for (pre-midi.) My understanding is that he
developed this himself to handle envelope based effects, especial the MuTron
III envelope filter (aka auto-wah, t-wah.) As any guitar player who has tried
one knows, you are kind of stuck with one output volume, because changing the
guitar volume changes the response of the filter. Put the volume after the
effects, and voila, problem solved. This also allows for high distortion (via
MXR dist+) at lower volumes, and may have helped the octave effects track
better. If you don't want to make the mod, you could approximate it with a
volume pedal at the end of your effects chain. I guess Jerry prefered this
control at his fingertips (a sentiment I personally share.)
John Kadlecik
Lead guitar, Dark Star Orchestra
Steven D. Dolley
>Lead guitar, Dark Star Orchestra
When are you guys coming to the Northeast???
Steve
Originator
in the compendium. looks like a les paul custom neck stuck on a log.
Originator
stands between me and abject poverty."
Originator
if the loop sent the signal pre volume pots to the effex, then back, to the
volume controls on the guitar, then back to the amps, why were there only 2
chords, not three coming from the guitar?
Karen Tyahla
wrote:
}Hey now fellow gearheads,
}
}Here are the specs for the MC 2300 power amp that Jerry used...I got it from
}a newsgroup posting by a guy who was selling one in January. (He wanted
}best offer over $2000...don't know how widely available they are.) Pretty
}wild that it can handle output impedences down to 0.5 ohms!
}
}If you're thinking of adding one to your rig, note (in addition to the
}2-grand + used price tag) that they weigh 128 pounds. I've seen interviews
}with former GD crew members who speak with a shudder of the "Macintosh
}Test"...a macho challenge whereby a crew member had to carry one of these by
}himself or be subject to derision and ridicule ... which, coming from the
}likes of Parish and Kidd, could be pretty harsh!
<specs snipped>
For the ultimate in McIntoshiana, check out Roger Russell's
site: <http://www.sundial.net/~rogerr/aboutmc.htm>
Karen, MC2255 & MC2500 (82lbs & 129 lbs respectively)
KayBee
Karen Tyahla wrote in message <7i1qfj$4tc$1...@agate.berkeley.edu>...
Dan S.
The second cable acts as a regular output.
Dan S.
arrived in '72. He mainly used the Wolf, but sometimes went back to the
Travis Bean and the Alligator, until the Tiger arrived in '78. The Travis
Bean first appeared in mid '71.
DBrophy479
tended to play one guitar for months at a time(1970 being the first
exception),and that photos in The Tapers Compendium and a couple in The
American Book Of The Dead are dated correctly,you could get this *very* rough
timeline.(More pics could tell more of the story.)
65,66 - Guild
6/21/67 - black Les Paul w/humbucking p/u covers removed
8/4/67 - ditto,but this guitar has a Bigsby tailpiece/tremelo bar.It could've
been installed,or could be a different axe.
3/3/68 - gold-top Les Paul with single coil p/u's (aka soap-bars,aka P-90's)
3/1/69 - cherry Gibson SG.I wonder when he switched? I associate this gtr with
the "Live Dead" sound.
10/24/69 - sunburst Strat.He's pictured playing this one on several 1970
dates,but he's back on an SG on 5/6/70 and pics captioned "1970" on p.257 in
the Compendium.The SG gets some studio use w/ Crosby,12/70.
3/24/71 - page 310.Looks like a Les Paul neck on a handmade body.I'll take a
guess that it was an early effort from the Alembic guys,because the raised
pickguard appears to be made of hand-cast metal,and they were into that.
4/71 - page 313.Same guitar or a Les Paul? I can't tell.
8/71 - sunburst Les Paul
4/72 - natural finish Strat.As heard on Europe '72.
5/20/73 - same guitar,it now has an extra knob and a custom-made plate covering
the electronics.Perhaps the first effects-bypass loop?Still being played
8/1/73.
==================
Jeff Lester
}what was that hybrid he played in april '71? that was my favorite. photos
}in the compendium. looks like a les paul custom neck stuck on a log.
Yeah, we talked about that when the Compendium came out. Nobody had a
definitive answer, but there was speculation that maybe it was some sort
of Alembic creation/protoype.
-Jeff Lester
Dan S.
Jerry's rig:
Chandler Stereo Digital Echo
Korg O1R/W
Korg M1R
Emu Proteus/1
ADA MicroCab
Alesis Midiverb
Boss OD2 Turbo Overdrive
Boss OD1 Overdrive
2 Boss GE7 Equalizers
Boss OC2 Octave
Mutron
MXR Phase 100
Groove Tubes Trio
Tube Works Real Tube Reverb
some ADA rack mount FX box
And a couple of other things here and there
Bobby's rig:
2 TC Electronic 1128 EQ
TC Electronic 2290 Delay
2 Lexicon PCM 70's
Tech 21 Sans Amp PSA-1
Soldano X99 pre amp
Marshall SE-100
Klark Teknik DN405
Alesis Midiverb
Pendulum Audio SPS-1
dbx 900 rack with 3 904's, 2 903's, and a 933
Mesa Boogie 2:90
a couple of pedals
and his wireless receivers
Originator
DBrophy479 wrote in message
>6/21/67 - black Les Paul
.....LP Custom
>3/1/69 - cherry Gibson SG.I wonder when he switched? I associate this gtr
with
>the "Live Dead" sound.
....and woodstock
>10/24/69 - sunburst Strat.
....tobacco sunburst would suggest a late '50's early 60's model
Looks like a Les Paul neck on a handmade body.I'll take a
>guess that it was an early effort from the Alembic guys,because the raised
>pickguard appears to be made of hand-cast metal,and they were into that.
>4/71 - page 313.Same guitar or a Les Paul? I can't tell.
.....no one can...or will.
>5/20/73 - same guitar,it now has an extra knob and a custom-made plate
covering
>the electronics.Perhaps the first effects-bypass loop?
....in a GP interview he sez the plate broke (when tweaking electronics?) and
they fixed it such that it looked like that.
how bout a thread on stickers: remember the Bud man on the amp? Lesh's
Alien?
MindSpring User
Jeff Lester wrote in message <7i25d4$h97$1...@agate.berkeley.edu>...
Jerry did have an Alembic. I don't know when he actually played it, but he
didn't like it. He talked about it in his Oct 78 Guitar Player magazine
article. with Jon Seivert.
JS: "Do you have an Alembic guitar?"
JG: "Yeah, but I never used it on a gig. I used it on recording sessions a
little bit-mainly with Merl Saunders. It SOUNDS fine, but it has balance
problems. It doesn't hang right with a strap, and I have to support it with
my left hand. It was one of the first guitars that Alembic made and they
were still learning, so unfortunately I've never had a chance to play one
for a long period of time."
I know he says that he never played it at a gig, but maybe he just spaced
the fact that he did play it at a show????
I don't have a copy of the picture, so this is just speculation on my part.
Hope this helps
scot
volk...@mindspring.yourmind.com
lose "yourmind" to reply
Originator
what sounds did he use from the Korg, and what sounds from the Emu...i have
both those units and would like to dial em up. and what's with the
midiverbs? I haven't found much of use on that one except for maybe the big
reverb.
Dan S. wrote in message <3744A24D...@tidepool.com>...
Rgrateful
Didn't Jerry play a Les Paul for a little while, pre 70 or right around 70?? I
never really paid attention to any of their instruments.
William Just
In a previous article, dol...@meatstick.com ("Steven D. Dolley") says:
>If you're thinking of adding one to your rig, note (in addition to the
>2-grand + used price tag) that they weigh 128 pounds. I've seen interviews
>with former GD crew members who speak with a shudder of the "Macintosh
>Test"...a macho challenge whereby a crew member had to carry one of these by
>himself or be subject to derision and ridicule ... which, coming from the
>likes of Parish and Kidd, could be pretty harsh!
no shit. my mac 240 that i use at home to drive my woofers (2 X mac240
strapped to mono) weighs 60 pounds! and thats just a home unit! by the
way, im using heil amt's made by ess that the dead tried out one time
back in the mid 70s, and they alone weigh 10 lbs each. thats ONE tweeter.
--
one love
rasta4I
jah bill
EZRA MICHAEL L
I love my McIntosh MC 2120, but it definitely is a hernia-inducing
65 pounds.
Mike
Dan S.
yeah, and he has a GR-50 in there too. Forgot about that one.
Sandy Coulson
>
> Okay, here goes:
> Jerry's rig:
> Chandler Stereo Digital Echo
> Korg O1R/W
> Korg M1R
> Emu Proteus/1
> ADA MicroCab
> Alesis Midiverb
> Boss OD2 Turbo Overdrive
> Boss OD1 Overdrive
> 2 Boss GE7 Equalizers
> Boss OC2 Octave
> Mutron
> MXR Phase 100
> Groove Tubes Trio
> Tube Works Real Tube Reverb
> some ADA rack mount FX box
> And a couple of other things here and there
Synths:
The Roland GK-2 controller (gutted to fit inside guitar cavity)
fed the Roland GR50 unit (used to convert pitch to MIDI data)
which then originally drove a Korg M1R (as heard on Without A Net).
Later the M1R was replaced with an O1R/W unit. I don't think the
EMU unit was a Proteus /1 but an EMU World Percussion unit.
Lake Butler MIDIGator footcontroller (to select synth patches).
Lake Butler RMC MIDI footpedal (as a continous controller device).
Rane SM26 Line Mixer.
Mutron = Mutron III envelope filter follower.
The ADA 2FX unit (mod'd to use a volume pedal to control
aspects of that unit's patches).
The Trio unit was used to replace the Fender Twin preamp.
-phil coulson.
Dan S.
Also, the EMU was definitely a Proteus1 and it was a Rane SM82 not a 26.
Just nitpicking.
Gautama2
Didn' Jerry use some other effects made by MuTron in the earlier days? anybody
know what they were?
-Steve
Originator
Dan S. wrote in message >Just nitpicking.
finally, some cool picking on this N.G.
thanks (I'm assuming) guys
StarD...@webtv.net
Jerry was playing the white Travis Bean ( the enemy is listening) at my
first show in 77.
78 and 79 he was on the Irwin Wolf.
I first saw him play the Irwin Tiger in Spring of 1980 and he played
that one until summer 89 when he started doing MIDI efffects during
space on a Strat. The first Deer Creek show in 89 saw the return of the
Wolf rigged for MIDI.
I met Jerry a few days later during the Alpine 89 run and spoke to him
briefly about it. He was very excited about he range of sounds from the
new MIDI system and seemed to appreciate the fact that someone actually
noticed he had switched guitars.
~~~~~~~~~~~~~~~
What's so funny about
peace, love and understanding?
~~~~~~~~~~~~~~
-phil coulson.
Mutron's Octave Divider
(which sported a switchable ring modulator effect)
Replaced with the Boss OC-2
--== Sent via Deja.com http://www.deja.com/ ==--
---Share what you know. Learn what you don't.---
knc...@gmail.com
> While we're on the guitar subject, anybody know what kind of pick-ups he used
> on his first Irwin guitar back in the seventies?
>
> -Steve
The second cord was srereo and he used send down A+ and return up B+ in his onboard fx loop.