What amp did Pat Martino use on his early recordings (el hombre)?
Charlie X
studied with Pat and learned how Pat stuffed his L5. Yes...the tone on
those records is (to me) holy grail. I dont know if it gets any
better.
so..we know Pat played a 50s L5 stuffed tight with cotton...but maybe
more importantly....What was the AMP?
Lemme hear ya Jack! and thanks for the great info on the PM 120...i
read ur extensive review but still cant find one locally to try out.
pmfan57
I think I read in an interview that he would use Fender amps in those
days, but I can't recall which ones or what interview.
Charlie X
guys used Gibsons (johnny smith included)...but maybe someone can
narrow down which Fender Pat was using on those? man..what tone.
Tom Jaffe
(Consciousness and some Willis Jackson recordings). Here some info:
What do you do for those times when you end up with a Fender Twin Reverb or
Roland JC-120?
My sound engineer, Kirk Yano, will pack the back of the cabinet with a
blanket-which makes it sound a lot better to me. I used Fender Twin Reverbs
a lot when I was playing in the B-3 groups in the '60s, though I didn't
stuff them with blankets back then. I was also playing Gibson Les Paul
Customs, an ES-175, an L5-CES, and, eventually, a Johnny Smith that I
plugged into a Twin Reverb for my first record, El Hombre. But-much more
importantly-on that record, my sound ran through [legendary engineer] Rudy
Van Gelder!
http://www.guitarplayer.com/article/pat-martino/aug-07/31024
Tom
"Charlie X" <diym...@excite.com> wrote in message
news:c6260b97-6f40-49ef...@l1g2000hsa.googlegroups.com...
Charlie X
both and they are close to that vintage...i dont get that tone!
awesome..thanks for your response...
I think my tone chasing days should end..i actually caught up with it,
and DIDNT EVEN KNOW IT! Proves its all in the hands.
mejoemo...@yahoo.com
Are there any non-musical tools an improviser can use to open up his
or her creativity?
PM:
As an improviser, you need to experience the moment--and that includes
everything in the moment. Observe the people around you--the
bandleader, the bartender--what they wear, how they deal with people,
the simple continuity of their presence. As you do that, you'll see
how you affect them, and you'll play and act accordingly. You need to
study the reality of the moment, and that is very rarely about
studying modes and intervals.
Nice, huh...
JM, trying to be in the moment right here, right now.
sheets
> I love what PM said in this interview:
>
> Are there any non-musical tools an improviser can use to open up his
> or her creativity?
>
> PM:
> As an improviser, you need to experience the moment--and that includes
> everything in the moment. Observe the people around you--the
> bandleader, the bartender--what they wear, how they deal with people,
> the simple continuity of their presence. As you do that, you'll see
> how you affect them, and you'll play and act accordingly. You need to
> study the reality of the moment, and that is very rarely about
> studying modes and intervals.
>
Remember, he learned to play first then got the philosophy later. 8
hours a day grind and playing chitlin circuit bars 5 nights a week for
several years is more likely the culprit for that.
By the way, he told me he used an L5 or Super 400 through a Fender
Twin for those records. He traded me his Koontz for my Johnny Smith in
the late 70s and then traded back because he didn't like the sound of
the Smith. Those records sound like a mounted pickup tone to me. I
used to get a virtually identical sound through my L5 around that
time.
Charlie X
look like hes playing a JS?
I really never heard a JS (or other floater) sound that full (unless
JS himself was playing it).
Wasnt the Koontz also a floating pup?
For a twin the sound is amazing..so many people use the same exact set
up...but he gets this great tone.
What do u guys make of that?
Thanks Sheets!!
U near philly?
>
> By the way, he told me he used an L5 or Super 400 through a Fender
> Twin for those records. He traded me his Koontz for my Johnny Smith in
> the late 70s and then traded back because he didn't like the sound of
> the Smith. Those records sound like a mounted pickup tone to me. I
> used to get a virtually identical sound through my L5 around that
> time.
that
sheets
> Hmmm..that does sound correct...but on the cover of the cd it does
> look like hes playing a JS?
> I really never heard a JS (or other floater) sound that full (unless
> JS himself was playing it).
>
> Wasnt the Koontz also a floating pup?
>
Yes and Pat didn't like it's tone. Sam Koontz got really pissed off
when he traded it to me. It's one reason we traded back. The one he
traded me was the Starbright one with the synth built in!
> For a twin the sound is amazing..so many people use the same exact set
> up...but he gets this great tone.
> What do u guys make of that?
VERY HIGH ACTION, VERY HEAVY STRINGS. He was using .016 through .058
roundwounds. Extra Heavy 1.2mm pick.
> Thanks Sheets!!
> U near philly?
I lived in DC at the time. Started off studying with Sandole then Pat.
mejoemo...@yahoo.com
> Remember, he learned to play first then got the philosophy later.
Good point...
JM
Max Smith
>
> Remember, he learned to play first then got the philosophy later. 8
> hours a day grind and playing chitlin circuit bars 5 nights a week for
> several years is more likely the culprit for that.
>
Yes, unfortunately that school closed a long time ago...
Max S.
jimbol51
I have to ask you a question that has bothered me for a number of
years. Did you ever shake hands with Pat? I mean a 16 to a 58 string set!?
Man I always pictured in my head hands of steel literally. I saw Pat a few
years ago in Los Angeles and never realized what a frail build he has on
him......but the power and cleanliness on his Gibson Pat Martino
guitar............absolutely amazing.........jim
"sheets" <jackz...@gmail.com> wrote in message
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sheets
> Jack,
>
> I have to ask you a question that has bothered me for a number of
> years. Did you ever shake hands with Pat? I mean a 16 to a 58 string set!?
> Man I always pictured in my head hands of steel literally. I saw Pat a few
> years ago in Los Angeles and never realized what a frail build he has on
> him......but the power and cleanliness on his Gibson Pat Martino
> guitar............absolutely amazing.........jim
Yep. His grip was very soft. More like a painter's than a truck
driver's.
pmfan57
And he was in it from his baby years with Willis Jackson. Robert
Conti told a story in a JJG interview of when he was hanging with Pat
in Philly and Pat said let's go see <insert badass band>. They went
into a funky part of town and Pat said to Conti, I'm going to ask to
sit in. A guy in the band said "can you play?". Like you'd BETTER be
able to play if you're asking.
Conti said the rest was musical history and Pat proceeded to lay waste
to the joint.
Vince
Just wondering? Have you and Pat remained in contact over the years?
Took my son to see him a couple of years ago at Blues Alley in DC and we
were fortunate enough to get seats right next to the stage - amazing to
watch and listen to him. He has a very slight build, but he has monster
chops. He was playing his Signature Gibson through the Acoustic Image. As I
recall, he had a large cabinet - big enough to hold 4 - 10" speakers but not
sure what he had inside.
Regards,
Vince