Anthony Wilson
danny
Also, here's a neophite's observation, noticed his playing style seems to be
horizonal rather than say caged? Nice stuff... his speed playing ,though,
seems to be more within four or five frets.
Thanks,
danny
dhn...@sbcglobal.net
danny
... if that helps?
Me, I couldn't tell a Monteleone from a Mountain Lion! =)
danny
<dhn...@sbcglobal.net> wrote in message
news:1132705531....@g49g2000cwa.googlegroups.com...
ott...@hotmail.com
He has since switched to a guitar made for him by Luthier, but I can't
recall the name, it would be a Blonde Model one pickup.
Bg
Greg clayton
must have paf's !!!
gc
>
Chris Graham
group is unbelievable. His solo on East of the Sun is my favorite.
Steve Herberman
play it for a while when it was just delivered to him. Great sounding guitar
and I'm sure it sounds even better now since it's broken in. Anthony could
make anything sound good.
Steve
<ott...@hotmail.com> wrote in message
news:1132718113.8...@g44g2000cwa.googlegroups.com...
LarryV
tone!
Five Sharp
now.
#####
"LarryV" <lar...@rcn.com> schreef in bericht
news:1132762078.0...@g43g2000cwa.googlegroups.com...
LarryV
the other day that had that classic smoky archtop sound. Most of the
newer "boutique" archtops don't seem to get that type of tone, instead
they get a more modern tone with clarity of a different sort. All of
the best components etc may add up to a sound that's just too perfect
and lacks character as a result.
pmfan57
I'm not sure it's lacking in "character". It just has a character that
some people, such as Five Sharp, don't like. I like the traditional
archtop laminated sound, but some carved tops sound nice too, but in a
different way. They have all different sounds. I like an acoustic
tone as well, and that's more like what you get from these carved top
guitars.
Five Sharp has made very clear in previous posts he doesn't want any
hint of acoustic sound in his jazz tone. It's all taste. Of course
the boutique guitars are way overpriced, but that's a different story.
My Hofner jazzica has a carved top and a somewhat woody acoustic sound,
as opposed to my GB-20 (the big Benson model) which is more traditional
sounding. I like the way each sound.
But you can get a good jazz sound out of a solid body too. I get a
nice jazz sound out of my Ibanez Artist with flat wounds.
Five Sharp
is just not my thing.
#####
"LarryV" <lar...@rcn.com> schreef in bericht
news:1132769195.1...@g14g2000cwa.googlegroups.com...
Five Sharp
#####
"pmfan57" <jwra...@aol.com> schreef in bericht
news:1132769634.8...@f14g2000cwb.googlegroups.com...
Max Leggett
news:91772$4384b1b1$d55d8e9b$25...@news.chello.nl...
> I am not much a fan of boutique guitars. The carved top-floater
combination
> is just not my thing.
>
I think it's the carved top that does it. The L5 works because the pups are
routed into the top. I think a carved top needs routed pups to give it some
rigidity. Like the L5. My D'Anngelico has a floater, but it's a pressed top,
which gives it rigidity. I used to have a Heritage, carved with floater, and
it and I never saw eye to eye. Great guitar, just not for me. So, for me -
and I know nada about guitar making - a guitar needs a rigid top, either
laminate,pressed, or routed, to get 'that tone.' Mind you,Jimmy Bruno
sounded pretty good through his carved Benny floater, so perhaps I'm talking
through my hat as usual. My 165 is just killer, so maybe I should leave it
at that and simply agree with you.
Five Sharp
#####
"Max Leggett" <hepkatre...@hotmail.com> schreef in bericht
news:5J3hf.466$gs6...@newscontent-01.sprint.ca...
pmfan57
Put flat wound .012's on your Hamer and roll of the treble slightly and
it'll give you a classic jazz sound too, as will a Les Paul or Ibanez
Artist (like mine), as long as you play through a tube amp ;-)
Bob Agnew
L5 CES. I will never want for another tone.
"Five Sharp" <d.on...@chello.nl> wrote in message
news:14908$4384d1b3$d55d8e9b$30...@news.chello.nl...
Kevin Van Sant
wrote in message <14908$4384d1b3$d55d8e9b$30...@news.chello.nl> :
>All my Gibsons sound killer and get me a classic jazz guitar sound.
>
>#####
I make a distinction between "sound" and "tone" . I think your sound
has been pretty consistent on all your vids even pre-gibson. Tone is
over-rated. It's all about sound. That's why gear-heads are barking
up the wrong tree. For exhibit *A* I give you Kenny Burrell who had
the same "sound" on nylon string as on his Super 400.
_________________________________________
Kevin Van Sant
jazz guitar
http://www.kevinvansant.com
to buy my CDs, hear sound clips, see videos, and get more info.
Visit my new Instant Download Mp3 Store at:
http://www.onestopjazz.com/mp3-store.html
Alternate site for gig tape soundclips
http://www.soundclick.com/bands/kevinvansant_music.htm
pmfan57
Well now you have to give some objective definition of "sound" after
that. Do you mean that "certain thing" that makes you recognize
someone immediately? Because this distinction between the words "tone"
and "sound" is one that you're making up. Because of this, you should
explain precisely how you are defining these terms.
Burrell playing was certainly recognizable on different guitars, but
some was from articulation and phrasing. That takes a couple of notes
at least to spot. I would imagine you think "sound" can be recognized
by a single note. Is this true?
I know I can recognize Miles by one note. But I don't see how his
"tone" is different from his "sound" when it comes to trumpet. Is it
the fact that I can also recognize Miles even when he plays Flugelhorn?
Peter Huggins
California Vintage Guitar in Sherman Oaks. I got a very close look at
his Montelone Radio Flyer, which is now three years old and aging
wonderfully as it travels with him in a variety of environments all over
the world. The curves, lines and angles and attention to detail on the
part of the luthier is simply exquisite. In response to a question,
Anthony demonstrated how resistant the full-depth, hollow-bodied guitar
is to feedback issues, unless the amp (in this case a BF Princeton
Reverb belonging to the store) got turned up really loud, louder than he
said he would want to play anyway. He said he only uses the Monteleone
or the Byrdland any more, however I have only seen him play the
Monteleone when he plays on Guitar Night with John at Spazio. Actually I
have never seen the Byrdland so I guess I need to see the Paris video !
: - )
---------------------------------------------------------------------------
" I`d dance with you Maria, but my hands are on fire " - Bob Dylan
" We had a knob, and all we had to do was turn it." - Les Paul
Grins, Peter
http://community.webtv.net/guitarmaniax/THISISTHE
http://community.webtv.net/guitarmaniax/unfinished3
Adrian Stevenson
I attended this years Jazz Guitar Festival in Wales at which Anthony was one
of the the tutors. (Info on other events they run at
http://www.northwalesjazz.org.uk/). He was using the Montelone Radio Flyer
and I was lucky enough to be able to give it a try for a few minutes. It
was a very brief tryout but it was clearly a guitar made with the highest
production values. He's a really fantastic bloke as well as a great tutor
and phenomenal guitarist. He clearly enjoyed himself in Wales as he said it
was the best teaching experience he'd ever had (maybe he says that to all
his student groups). There a photo of Anthony playing the Montelone at
http://static.flickr.com/32/55973956_f80a44fb98.jpg (copyright and courtesy
of Mr Will - http://www.mr-will.co.uk/)
Cheers
Adrian
Manchester, England
"Peter Huggins" <guitar...@webtv.net> wrote in message
news:18331-43...@storefull-3312.bay.webtv.net...
LFio
Tal, the 175 and the 335!
cl...@claymoore.com
Kevin Van Sant wrote:
> I make a distinction between "sound" and "tone" . I think your sound
> has been pretty consistent on all your vids even pre-gibson. Tone is
> over-rated. It's all about sound. That's why gear-heads are barking
> up the wrong tree. For exhibit *A* I give you Kenny Burrell who had
> the same "sound" on nylon string as on his Super 400.
Hi Kevin,
I agree completely. I used to play with a rack setup with several
presets that I liked - distortion, delay, chorus, etc. Every once in a
while I would have someone sit in, and the sound of the rig was very
different with each player even though they were using my guitar and
the same settings.
Remember Joe Pass first recorded on a Tele or a Jazzmaster, then an
ES-175, then various guitars he endorsed. While the tone changes to an
extent, it's always obviously Joe and his sound. Also, tone purists
take note - it only takes a minor dial tweak by a sound or recording
engineer to make your coveted tone sound like something you never
nightmared would come out of your instrument. Don't you love those
sound dude comments "Your tone was really muffled, so I added some
highs!"
Clay Moore
http://www.claymoore.com
Max Leggett
> Kevin Van Sant wrote:
>
> > I make a distinction between "sound" and "tone" . I think your sound
> > has been pretty consistent on all your vids even pre-gibson. Tone is
> > over-rated. It's all about sound. That's why gear-heads are barking
> > up the wrong tree. For exhibit *A* I give you Kenny Burrell who had
> > the same "sound" on nylon string as on his Super 400.
<cl...@claymoore.com> wrote in message
news:1132854065.3...@g44g2000cwa.googlegroups.com...
>
> I agree completely. I used to play with a rack setup with several
> presets that I liked - distortion, delay, chorus, etc. Every once in a
> while I would have someone sit in, and the sound of the rig was very
> different with each player even though they were using my guitar and
> the same settings.
I agree with both of you, but I find the sound I like to come more easily
from a particular guitar, which is not to say that everyone would. But Kevin
plays an L5 cos he really likes the sound: he doesn't play a Jaguar. Some
people - Joey comes to mind - really like the sound that comes from a solid
body. Our individual preference depends on our ears and how easy it is to
coax what we think is a nice sound from a particular instrument. If we could
all coax a nice sound from pretty much anything, then we wouldn't need L5s,
or 165s, or whatever - we could just buy a $200 Chinese made anything and
plug in. Besides, if we didn't think another guitar would make us sound
better then that'd be the end of GAS as we know it and the luthiers of the
world would be on the street corners begging. Just out of Christian charity
I think we ought to delude ourselves to a certain extent.
> Remember Joe Pass first recorded on a Tele or a Jazzmaster, then an
> ES-175, then various guitars he endorsed. While the tone changes to an
> extent, it's always obviously Joe and his sound. Also, tone purists
Agreed again, but once he could afford it, or got famous enough, he played
good guitars. Galbraith and Smith and co. played D'Angelicos because they
found it an easy instrument to coax nice sounds from.
> nightmared would come out of your instrument. Don't you love those
> sound dude comments "Your tone was really muffled, so I added some
> highs!"
That's when I introduce them to the concept of "Death Metal."
pmfan57
> Agreed again, but once he could afford it, or got famous enough, he played
> good guitars. Galbraith and Smith and co. played D'Angelicos because they
> found it an easy instrument to coax nice sounds from.
A Tele's not a "good guitar"? It's one of the most successful designs
of any guitar, second only to the Strat. Ted Greene, Jimmy Bryant and
Ed Bickert give lie to that implication.
ott...@hotmail.com
Wilson sounded twenty times better when he switched from that 355 (or
maybe 335) he used on his first CD, to the Byrdland, Montelione, L5 or
whatever he's using now. "
Agree wholeheartedly! I just saw Diana Krall's Live at Montreal
JazzFest Video, and he was using the Monteleone and a LES PAUL, both of
which I thought gave him a more Pop orented sound, which may be what he
wants for Diana's newer compositions with hubby Costello.
Even on the Les Paul tho, he alwas has ssomething to say.
BUT, I LOVE his sound on the Byrdland.
Bg