OT: Philly Guitar Show thoughts
mark
I'm sure many readers in the area did as well. I unfortunately was
unable to attend yesterday, which is when a lot of great performances
occurred I am sure (including Jimmy Bruno, Wilkins, etc). I attended
this same show a couple of years ago after having just picked up a
guitar in the weeks prior to it for the first time in years. At the time
I was not familiar with any of the equipment, amps, guitars, etc. At
that time, I couldn't tell you what an ES-125, an Analogman pedal, or a
Bennedetto or whatever was : ) Now I lust after these things....(ok,
maybe not the Analogman pedal).
Now, let me first say that I am not a jazz player. I try, but I am very
bad at it. I'm an okay blues and rock player. A terrible jazz player,
but working at it.
So here are my random thoughts on today's visit to the show:
- Tons of guitars, as expected. I couldn't believe the number of
guitars, nor could I believe the prices on a lot of them - particularly
the "collectable" ones. One vendor didn't have anything for under a few
grand I don't think, and most in the five figure range. I wonder if
actual players buy these things? I saw a guy I had jammed with once
onstage at an open blues jam, buying a $12,000 guitar. This guy could
barely play the instruments he has....
- There were a lot less archtops than I remember there being at the show
a couple of years ago. That said, there were still tons of em.
- I saw the following performers today:
Bob Bennedetto: He had just started when I entered the show. He was
outstanding. It was a really wierd scene. I had paid my admission and
walked in and went immediately to the relatively small side room where
the performances are held. In it was a small bar, with a truck-driving
mouthed (no offense to the real truck drivers) bartender who was
flapping her gums during the performances that were occurring at
relatively low volume and less than 50 feet away. Inside the room was
about 30 small circular tables with about 3 or 4 chairs each, and
really, for each of the performances I watched today, there wasn't more
tha 20 or 30 people total in there. You could sit right up front, less
than 5 or so feet from the performer if you wished. I walked by and saw
Bob Bennedetto's name on the list and then went in right away to check
this guy out (I had never heard him play before). Wonderful playing, and
I couldn't help but wonder why there were literally thousands of guitar
players outside of this room who were busy drooling on overpriced
guitars instead of sitting here in this intimate setting trying to learn
something, or at least be inspired, by such wonderful playing. My guess?
They were 99% rock players : )
MICHAEL COPPOLA: this guy was phenomenal, and I don't know who the bass
player who played with him was, but that guy was even better.
Gil Parris: this guy is another I'd never heard of. He didn't have a
scheduled performance in the side room. He was working the Reverend
booth. I was walking around looking at stuff when I heard this beautiful
blues playing/tone. I looked up and saw a fairly good number of people
crowding around a vendor so I checked it out and he was there playing
against backing tracks, using an off the shelf Reverend amp (I *think*
it was the Kingsnake) and guitar with P-90's in it. Absolutely awesome
player. Very tasteful and just amazing. I was really digging his tone
and note selection. I hadn't heard blues played like that in a long time.
Some other random thoughts:
- The Reverend guitars and amps look fairly good for the price.
- There was a lack of used amps for sale. I guess it really was a
"guitar" show, because there weren't very many amps.
- Also very few effects. I remember before that there was the Analogman
guy and such, but not today.
- Roland had a spot there and they were pushing the GR20, GR30, and GR33
synths. I wanted to check them out but everytime I went by the synths
were being used by someone. They did it smart - they had them hooked up,
with roland-ready strats, and if you walked by and they weren't busy
they handed you the guitar and a set of headphones for you to try out
the synths. This is great for guys like me who would otherwise be too
embarassed to play in front of so many other great players.I would love
to have one of those synths, they are pricey but seem to get great reviews.
All in all, it was a great time. For the price of admission ($9), it's a
bargain for sure. Had I gone yesterday I woudl have certainly came back
again today just to see the performances. I got to see some of the great
area guitar players, some of whom I've known through the years (Joe
Mass) and others it was just a thrill to see (Jimmy Bruno).
Now for my gripes:
- Boo to the promoter/organizer of this event. Why in the world would
you have a guitar show with scheduled performances, yet not post the
particulars on a website (ie, who would be performing and when). Had I
known that the Mel Bay Records players (Bruno, Christiansen, Wilkins,
etc) would be performing on Saturday at a designated time I would have
been there for sure for that. Perhaps they did have this info somewhere
and I just couldn't find it?
- Boo to the manufacturers and vendors who, really, didn't give any
discount or show savings type deals. I didn't see any real deals there.
Perhaps the guitars that normally go for $8,000 went for $7,500 : ) I
wouldn't know. I don't even go near those for fear that I might bump
into one and the guy yells "you broke it you bought it!"
Bruce Dickenson
> outstanding. It was a really wierd scene. I had paid my admission and
> walked in and went immediately to the relatively small side room where
> the performances are held. In it was a small bar, with a truck-driving
> mouthed (no offense to the real truck drivers) bartender who was
> flapping her gums during the performances that were occurring at
> relatively low volume and less than 50 feet away. Inside the room was
> about 30 small circular tables with about 3 or 4 chairs each, and
> really, for each of the performances I watched today, there wasn't more
> tha 20 or 30 people total in there. You could sit right up front, less
> than 5 or so feet from the performer if you wished. I walked by and saw
> Bob Bennedetto's name on the list and then went in right away to check
> this guy out (I had never heard him play before). Wonderful playing, and
> I couldn't help but wonder why there were literally thousands of guitar
> players outside of this room who were busy drooling on overpriced
> guitars instead of sitting here in this intimate setting trying to learn
> something, or at least be inspired, by such wonderful playing. My guess?
> They were 99% rock players : )
I doubt that it was Bob Benedetto you were watching. It was most
likely one of Bob's endorsers. Bob is a builder, not a performer.
More about the guitars! Was anybody at this show? I would love to
hear from anyone who was there and checked out the new Bucky
Pizzarelli model Benedetto.
CHARLIE X
I was there saturday, but I spoke with Jack wilkins and he was telling
me HE would be playing the bennedetto seminar on sun...that may be who
u heard playing. I dont think bob was going to be playing.
I saw bruno and wilkins on sat..they were joined by some other players
as well who were good. I liked jimmys tone more before he changed
guitars. He is also playing FINGERSTYLE now!
Hes no joe pass, but will get there soon i suppose.
and I BOUGHT A BENEDETTO!!!!!!!...the new bucky model is super
cheap..but because its not a 'real' benny, its cheap. Plays awesome
and sounds great..which is all that counts.
Bob went through a LONG discussion to explain that IF he built this
guitar, it would be EXACTLY the same...i dont really care about that,
but its a great guitar at a great price.
anyone play the new Bucky pizz?
hear my clips at http://charliex.org
Al
> guitars.
So what was he playing?
Jimmy Bruno
Sounded great to me on stage. You sure you wre at the same show? I only
played part of a tune fingerstyle!!!!!
I shouldn't even bother to answer... too late, I hit send.
"CHARLIE X" <diym...@excite.com> wrote in message
news:3b77efac.04112...@posting.google.com...
Jimmy Bruno
sound is in the guitar or an amp, you a very wrong! While it is EASIER to
get a good sound with a good guitar and amp it is at the bootom of the totem
pole as far as sound. It's great to play an archtop that doesn't feedback
etc but you can get a good sound on anything. It's more how the guitar
feels than sounds, it shouldn't have any buzzes or bad notes and a good
pick up
I can rememeber living in La when everyone in the studios wanted you to
sound like Larry Carlton . I became friends with Larry and one day while at
Valley Arts I saw Larry play an Ibanex archtop through a stock fender
princeton... SAME SOUND!!!!!!!!
I, am very happy and blown away by the guitar Roger Sadowsky made for me.
No feedback, easy to get a round warm tone, probably the best guitar I ever
owned. IN the studio, you are at the mercy of mics and sound engineers and
mastering engineers. Sometimes they are good and sometimes they suck! If
you record for a label you don't have the luxury of fixing every note or
eating up hundred's of studio hours telling the engineer that that is not
how you like your guitar to sound.
I am always amazed that people listen to CDS and wonder what gear the guy
used. By the time you get the CD, the guy could have been playing an el
cheapo fender Jagaur and either sound great or sound awful.
Sorry to go off on a rant but this shit bugs me because it is so naive and
wrong. I'm not directing this at you personally but I think the truth needs
to be told.
I am not saying that the guitar and amp does not matter at all. But the
sound is in your head. A fine amp and fine instrument make it easy for you
to get the sound you hear, but you can get it with ALMOST any gear. Me, I
love roger's guitars because they are easy to play, and I have to do no
tweaking at all to get the sound I want.!!!
The amp matters less as you have no control over room sound, how many people
in the room, whether the back door is open or closed, hollow stage,
reflective walls the list is endless. It NEVER sounds the same on stage as
it does in the audience, the best you can hope for is a good comprimise.
I've been doing this for over 40 years. If anyone finds the answer to this
issue, please let me know as all the rest of us performers would want to
know how to control what the audience hears.
"Jimmy Bruno" <ji...@jimmybruno.com> wrote in message
news:csKdnaCF2Op...@comcast.com...
Steve Herberman
It was a pleasure hearing you at the Philly show. I thought the tone of your
Sadowsky thru the Comins amp was really nice. Very natural sounding. In fact
from where I was sitting I was hearing a great deal of acoustic volume. That
is one nice guitar Roger made for you. Also congrats on the nice long
feature in the new JJG.
mark
Terribly sorry - yes, it was Jack Wilkins. I saw Bob Benedetto on the
list outside of the "performance" room for that time slot so I assumed
it was him.
mark
Jimmy Bruno
sounded like a gymnasium from where I was but you know the deal... you've
been playing around for a long time too. But I do appreciate your thoughts.
Some gigs the sound is great and others it's weird. the same guys can be on
stage next to one another and one guy can hear fine and the other can't.
Sound is very complicated. the best sound I ever got was when skip Moy did
sound for me for a few gigs. the stage sound was the same as the house
sound. now I know why Pat MArtino takes a sound man with him..
"Steve Herberman" <jazz...@starpower.net> wrote in message
news:qrmdnfhAYcr...@rcn.net...
mark
> How can you tell about the tone as the amp was miced with a cheap PA.
> Sounded great to me on stage. You sure you wre at the same show? I only
> played part of a tune fingerstyle!!!!!
> I shouldn't even bother to answer... too late, I hit send.
What's the matter Jimmy - you didn't appreciate the bartender in the
back of the room carrying on loud conversations? : )
I think the organizers of the show did a horrible job in two areas:
1. Not promoting the performances - no website listing who/when. Even at
the show itself, unless you walked by that room and looked in you would
have no idea that great players like you were in there.
2. The room itself for performances is a joke. Loud, rude people, and
plenty of noise coming in from outside.
That said, the price of admission was nothing compared to what it would
normally cost to see such great performers. I just wish I had known when
you were performing and I would have made sure to have been there.
mark
Jimmy Bruno
hear the noise from the back. when they closed the dorrs it almost was
pretty good. I don't get upset at those things anymore; you just try to
play your best and go on to the next gig. None of them are perfect. I
actually had a great time playing with those guys and a lot of fun. I only
responded like I did because, no one can tell what the hell is going on with
the gear and sound and noise. If they can then they must have magic ears.
Too many people are hung up with gear. Yeah, it's very important, but once
you find what you need, that should be the end of it. I personally have
moved away from the classic archtop sound. I prefer a more electric sound
these days, that's why the laminate Sadowsky. No feedback, travels well,
plays great and is replaceable without mortgaging your house.
I hope when the signature model is released that it does the same for anyone
who buys one as it does for me. I just wanted a working guitar that is easy
to play and gets a good sound. Roger's Jim Hall model did it fo rme when I
played at the guitar congress.
Timing is everything. Had I not walked passed his booth on the way to the
stage I would have never heard it. Roger handed me the guitar on my way to
the stage to play because I asked him, "Roger, can I try this on stage"? I
never met the man before that. Lucky for me I walked past his booth. Best
thing that ever happened to me.
Great guy, great guitars, easy to work with, good business, what more could
anyone ask for.
I always said I am one lucky son of a .... (fill in the blank)
"mark" <mark...@donteventhinkaboutit.punk> wrote in message
news:Wyxod.6590$8o.1139@trndny08...
Steve Herberman
I was sitting in the very back- last seat in the place! It IS funny how
sound works sometimes. As you know I played up there before you and the
other Mel Bay guys came up and thought the sound on stage was horrible. I do
like the Comins amp a lot but nothing sounded good on that stage. I thought
the riser was going to cave in too- Rick Stone wisely took the spot on the
other side! As you said "on to the next gig"...
"Jimmy Bruno" <ji...@jimmybruno.com> wrote in message
news:iZmdnUPOT6l...@comcast.com...
Harry J
I was told Jimmy was there Sunday not Saturday.. Oh well
I did get to check out some very nice amps. Fuchs, and Carr sounded very
sweet. I was helping a student choose a "boutique" amp. Wish I could afford
that stuff :-) He ended up with a $2500 Fender master built tele, and a Vox
AC-30.
Harry Jacobson
www.harryj.net
"mark" <mark...@donteventhinkaboutit.punk> wrote in message
news:iHcod.9316$Vy.5721@trndny06...
Nate Lamy
> I'm sure many readers in the area did as well. ...[]...
> - Tons of guitars, as expected. I couldn't believe the number of
> guitars, nor could I believe the prices on a lot of them - particularly
> the "collectable" ones.
Lots of kewl archtops. Best archtop deal I saw at the show:
1951 L-7C w/beat case & w/Dearmond 1100, including working cable... $1,995
A few properly repaired back cracks, otherwise just very dusty.
> Some other random thoughts:
> - There was a lack of used amps for sale. I guess it really was a
> "guitar" show, because there weren't very many amps.
It is a BIG show. I saw no shortage of amps. Best amp deal I saw at the show:
1972 Ampeg GU-12, drop dead perfect condition... $200
Otherwise, the secret word for today is MICROFRETS.
- Nate
Rene Oliver
> > I liked jimmys tone more before he changed
> > guitars.
>
> So what was he playing?
Jimmy played a Sadowsky Jim Hall model or was it the Jimmy Bruno
model. The Sadowsky Bruno model will be unveiled at the coming NAMM.
CharlieX, how 'cheap' are the Bucky model? What is its retail price?
rene
IL; axe jaro
with you, however, on the critics.
"Jimmy Bruno" <ji...@jimmybruno.com> wrote in message news:<o-ednTakkr5...@comcast.com>...
Charlie Robinson
>it does in the audience, the best you can hope for is a good comprimise.
>I've been doing this for over 40 years. If anyone finds the answer to this
>issue, please let me know as all the rest of us performers would want to
>know how to control what the audience hears.
>
>"Jimmy Bruno"
----------------------------------------------------------
You could rig up a mike in the back of the room and have the sound sent back to
headphones that you would wear while performing (of course you will also get
the conversations). This set up could be used in conjunction with my other
invention, the pedal that you step on to trigger prerecorded applause after
solos.
Charlie Robinson Jazz Guitarist, Composer
You can hear and see me online (video) at:
http://66.194.153.49/~ramon/RamonPooser.swf
Soundclips:
http://www.cdbaby.com/cd/robinsonchazz
Bruce Dickenson
> cheap..but because its not a 'real' benny, its cheap. Plays awesome
> and sounds great..which is all that counts.
> Bob went through a LONG discussion to explain that IF he built this
> guitar, it would be EXACTLY the same...i dont really care about that,
> but its a great guitar at a great price.
> anyone play the new Bucky pizz?
>
these. What can you tell us about it?
Bruce Dickenson
> How can you tell about the tone as the amp was miced with a cheap PA.
> Sounded great to me on stage. You sure you wre at the same show? I only
> played part of a tune fingerstyle!!!!!
> I shouldn't even bother to answer... too late, I hit send.
Jesus Jimmy. Calm down. Who cares if you played fingerstyle? Step
away from the computer and count to ten...
Dan Adler
> el cheapo fender Jagaur and either sound great or sound awful.
Fender Jaguars are not that el-cheapo. The 60's ones like the one Joe
Pass playerd are going for between $1000-$2000.
-Dan
http://danadler.com
George4908
>invention, the pedal that you step on to trigger prerecorded applause after
>solos.
Or in my case, a laugh track.
tunis craig
> Sounded great to me on stage.
from the next post...
>You must have had the best seat in the house..
sounded like a gymnasium from where I was but you know the deal...
I'm confused, Jimmy. Did it sound good on stage or bad? These posts
don't make any sense. You say it sounded good in one post and bad in
another.
"The lady doth protest too much, methinks." -Shakespeare
bob r
ji...@jimmybruno.com wrote on 11/23/04 11:16 AM:
> Tired of reading bullshit about me.
Hey, at least they're talking about you... and usually even spelling your
name right. :-)
--
Bob Russell
http://www.bobrussellguitar.com
CD available: http://www.cdbaby.com/bobrussell
Andy D.
fine. Your fingerstyle playing gave you a very nice warm sound on the
(Comins?) 7 string. Jimmy's sound was much more natural than the other
players. But whatever sound is the "preferred" sound is totally
subjective. Bruce Saunders played a stock ES-335 and I really liked
his playing. He was very lyrical with his soloing and he did a nice
duet with Corey Christiansen. I had never heard him play before. But I
liked how he played which to me is more imporatnt than what guitar he
played. Hey, Ed Bickert plays a beat up Tele and is always a pleasure
to listen to!
Andy D.
D.Onstenk
####
"D.Onstenk" <d.on...@chello.nl> schreef in bericht
news:30h6jrF...@uni-berlin.de...
> Yeah, as we say in Dutch:
>
> Het is beter dat ze over je lopen te lullen dan dat ze over je lul lopen
...
>
> Wouldn't know how to translate this though. Can't be done I guess.
>
> Or, in the same vein, quote rock star Herman Brood (RIP):
>
> "Any publicity is good publicity."
>
> #####
>
>
> "bob r" <w...@earp.com> schreef in bericht news:BDC8CD8F.B8CC%w...@earp.com...
Jimmy Bruno
gentleman commented about that the other guitar sounded better. Well you
can't tell in that environment. And the fact that he thought I played
fingerstyle means that he wasn't listening very well. I always played part
with a pick a little with fingers on almost every tune. So how can you say
things like Roger's guitar didn't sound as good as the Benedetto that I used
to play. That's the kind of shit that causes PR problems for me. If you
gonna say something whether it's positive or negative, at least be accurate
None of this is important anymore. Now I remember why I take vacations from
posting here and now I remember why you don't see many other recording
artitsts here . Too MUCH DUMB SHIT!!!!!!
Now I feel better.
"tunis craig" <tunis...@yahoo.com> wrote in message
news:5d65242c.04112...@posting.google.com...
Zucker Bowe
> IN the studio, you are at the mercy of mics and sound engineers and
> mastering engineers. Sometimes they are good and sometimes they suck! If
> you record for a label you don't have the luxury of fixing every note or
> eating up hundred's of studio hours telling the engineer that that is not
> how you like your guitar to sound.
Jimmy, I understand that your new solo record, which you recorded
yourself in your home-studio, was mixed and ready to be released when
you made Mel Bay Records pay Tom Morris of Morrisound $2,500 to fix your
"sound." You then made them pay some local "friend" of your's $500 to
remix and master it. This tweaking jeopardized the release date and,
while $3,000 isn't a vast sum of money, it does seem to me exactly the
kind "luxury" which you refer to in your above post.
Jimmy Bruno
good sound on a gig, that's a bonus, it's the music that matters. I've
heard plenty of Wes cuts where the guitar sound didn't appeal to me but I
still loved the music
"bob r" <w...@earp.com> wrote in message news:BDC8CD8F.B8CC%w...@earp.com...
Jimmy Bruno
sorry if it sounds that way but in person I'd be laughing and joking about
the whole thing because it is pretty funny. But then I think everything is
humorous
"D.Onstenk" <d.on...@chello.nl> wrote in message
> Yeah, as we say in Dutch:
>
> Het is beter dat ze over je lopen te lullen dan dat ze over je lul lopen
> ...
>
> Wouldn't know how to translate this though. Can't be done I guess.
>
> Or, in the same vein, quote rock star Herman Brood (RIP):
>
> "Any publicity is good publicity."
>
> #####
>
>
> "bob r" <w...@earp.com> schreef in bericht news:BDC8CD8F.B8CC%w...@earp.com...
Jimmy Bruno
done over the holiday weekend. If it were up to me I would have done the
whole process myself and it would have been perfect. I think I will forward
this to Mel Bay. Somethings do not belong on the newsgroup. I had no idea
how much was paid to Tom Morris. While I thought he did a great job, it
wasn't what I wanted, I should have been there but I had to work. I did
not hire Tom Orris, I never met the man. I didn't make anyone do anything.
The relase date was met due to my frined working on a holiday. Seems you
have privy to more of my finacial info than I do. Please do not post such
things int he future. I private email would have been fine. What are you
tring to prove? You are still wrong....
Who are you anyway????? Does Tom Morris know you posted this?
"Zucker Bowe" <zucke...@hotmail.com> wrote in message
news:cbe55002.04112...@posting.google.com...
Jimmy Bruno
for mastering (not by me)and was released on time thanks to a good friend.
Wow, you really have some balls to make the business end public. You have
NO class my friend!!!!!!!!! Please stay out of my business or I will take
legal action!!!!!!!!!
Jimmy Bruno
counting!!!!!!!!!!
LOL!!!! I love it, that's pretty funny
"Bruce Dickenson" <mutantg...@aol.com> wrote in message
news:d1ddb619.04112...@posting.google.com...
thom_j
> "Any publicity is good publicity."
> #####
always work for him.....eh? alwayz curious tee'..
Jimmy Bruno
for most of the show. What the audience heard and what we or I heard on
stage ws not the same. But it never is, that's a fact of life. Very few
large venues like that will get a good sound int he audfience unless you
have a reall good sound guy. we had no sound person, just Geaorge who
hooled up a few mics. So to some people it sounded good and to others maybe
not. To me it was a fun gig, on ein a sting of hundreds. By next week I
won't remember it. By then I will have been to Italy and back. I can't
bemoan every concert or club gig. I've worked over 200 performances this
year. And there are around 10 more left before January.
thom_j
> Too MUCH DUMB SHIT!!!!!! Now I feel better.
to play...ya know? 8^)'. alwayz dumb shitting tee'..
Jimmy Bruno
industry. For the record, I did not send the CD to Tom Morris to FIX
anything. Mel Bay wanted it professionally mastered. At the time I had no
mastering gear. I hated what he did to the recording. He was paid anyway.
Please do not post any finacial info in the future. I am asking you nicely,
it's just not a smart thing to do. They have already found out your true
identity. How do you know I did not sign a confidetiality agreement? Your
comment could hurt my business finacially and all parties involved. I have
already contacted my attorneys. You will hear from them soon. You are on
dangerous ground. You obviously work for Tom Morris or someone close to
him. I never met the man. I think he is a fine engineer , I just wasn't
happy what he did with my CD. That happens all the time.
Zucker Bowe
Wow, I'm sorry Jimmy, I didn't mean to offend you. I obviously did,
and for that I'm sorry. I meant no harm. Best wishes and may your
career continue to be filled with successes.
Unknown
wrote:
<snipped a ton of stuff that is private>
Zucker:
We don't get too many players of Jimmy Bruno's stature taking the time
to post here, though there are many who read our proceedings. Posting
gossip about private financial information is one sure way to keep
well known players from participating. Please don't do that.
Tim
http://timberens.com
A Website for Guitarists
Learn something...Have some fun
timb at erinet dot com
mark
You "didn't mean to offend"?!? Man, I'd hate to read a post where you
actually did mean to offend....
Frets
Frets
"Zucker Bowe" <zucke...@hotmail.com> wrote in message
news:cbe55002.04112...@posting.google.com...
mark
> mark <mark...@donteventhinkaboutit.punk> wrote in message news:<iHcod.9316$Vy.5721@trndny06>...
>
>>I went to the Philly ...guitar show today, as
>>I'm sure many readers in the area did as well. ...[]...
>>- Tons of guitars, as expected. I couldn't believe the number of
>>guitars, nor could I believe the prices on a lot of them - particularly
>>the "collectable" ones.
>
>
> Lots of kewl archtops. Best archtop deal I saw at the show:
> 1951 L-7C w/beat case & w/Dearmond 1100, including working cable... $1,995
> A few properly repaired back cracks, otherwise just very dusty.
>
I suppose. Personally, I would never pay more than $900 for a guitar,
particularly not for one that has repaired cracks or whatever. But that
brings up a whole nother debate I'd rather not get into... What is
surprising to me though is how anyone could really shop for a guitar
while there. I mean, it was so noisy and busy, how do you really try out
a guitar there? Or is it the type of thing where, you already know you
want an L-7C or a Benedetto or whatever, so you just strum it for a
minute amidst the crowds and the salespeople all on top of you, and then
you buy it? It just seemed like a strange place to buy a guitar to me
believe it or not : )
>
>>Some other random thoughts:
>>- There was a lack of used amps for sale. I guess it really was a
>>"guitar" show, because there weren't very many amps.
>
>
> It is a BIG show. I saw no shortage of amps. Best amp deal I saw at the show:
> 1972 Ampeg GU-12, drop dead perfect condition... $200
>
My guess is there were more used amps earlier. I didn't get to the show
until noon on Sunday, and by 2pm some vendors were already packing up.
There weren't as many used amps as I had expected there would be. Just
about every vendor had one or two laying on the floor. Typically
black/silverface fenders. A lot of vendors had amps like old Gibsons and
other assorted junk (my opinion there of course). But I wouldn't say
there were a lot of amps there in terms of selection, unless you were
looking for a black/silverface bandmaster or showman or bassman. Of
those, they were slightly overpriced. I saw only one silverface deluxe
reverb, for example. No blackface DR's either. And the one I did see was
being carted around by a guy with a shopping cart! He had the amp on top
of the shopping cart (it was too wide to fit in the cart I guess), while
at the same time he was carrying a guitar, no case, in one of his hands!
Hilarious! And he had the look on his face like he had another grand or
so burning a hole in his pocket too! LOL
mark
D.Onstenk
Het is beter dat ze over je lopen te lullen dan dat ze over je lul lopen ...
Wouldn't know how to translate this though. Can't be done I guess.
Or, in the same vein, quote rock star Herman Brood (RIP):
"Any publicity is good publicity."
#####
"bob r" <w...@earp.com> schreef in bericht news:BDC8CD8F.B8CC%w...@earp.com...
Jimmy Bruno
news:d1ddb619.04112...@posting.google.com...
Leggs
1. Why is jimmy so pissed? He cant take some honest criticism? Is he
getting soft? When you put yourself out there, you need to be prepared
for public reaction, good or bad or stupid.
2. He played fingerstyle at the show...i noticed it also. He also
plays a fair amount of fingerstyle on the new cd...which does not have
as great a tone that we are used to hearing from him. Im also not so
sure his sense of time when he goes from pick to fingers. I dont know
if its bad mastering, cheap PAs or what..but its different.
3 He should not call our comments here 'dumb shit'. It only makes him
sound like THE dumb shit. If you cant take it without getting hostile,
then by all means, stay out. We do the best we can, we dont need to be
referred to in that way by you.
Just my 2C...im sure he will take his revenge on me now. Have his
lawyer call my lawyer. Maybe we can invite Zel Miller and they could
have a duel?
leggs
mark
> Hi...just a few thoughts on all of this.
Please don't start a flame war. That could be the only reason you would
post what you posted. I normally stay out of playing netcop but I was
the one to start this entire thread and hate to see it degraded even
further with your dumb shit.
mark
Leggs
I am not that interested in the legal aspect of the post, but whover
spilled the personal info is at fault here, not the poster. Jimmy
SHOULD ream them out BIG time for letting out that info-true or not.
We, however, should not gang up on Zucker for the post. I think Jimmys
response was misdirected especially AFTER Zucker apologized.
We as the group should not subject ourselves or each other to angry
and abusive posts just because the poster may be well known (by guitar
players), I dont care how famous he or she is. Have some manners here.
Legs
Max Leggett
>Hi...just a few thoughts on all of this.
>1. Why is jimmy so pissed? He cant take some honest criticism? Is he
>getting soft?
Because someone was releasing confidential financial information about
one of his CDs.
> When you put yourself out there, you need to be prepared
>for public reaction, good or bad or stupid.
Jimmy objects to ill informed criticism.
>2. He played fingerstyle at the show...i noticed it also. He also
>plays a fair amount of fingerstyle on the new cd...which does not have
He's played fingerstyle for years.
>as great a tone that we are used to hearing from him. Im also not so
>sure his sense of time when he goes from pick to fingers.
Man, that's ripe. You're saying Bruno's got shaky time. Get a grip.
>3 He should not call our comments here 'dumb shit'. It only makes him
>sound like THE dumb shit. If you cant take it without getting hostile,
If someone posts dumb shit, they should expect to have it called dumb
shit. Your silly little post qualifies most handily for the sobriqury
of 'dumb shit.'
Charles
Maybe you and Jimmy should get a room.
Then get your hearing checked.
Asshole.
mark
I can't hear you.
mark
Furthermore -
Why do all the punks have to have multiple email addresses? LOL
Nate Lamy
> Nate Lamy wrote:
> > mark <mark...@donteventhinkaboutit.punk> wrote in message news:<iHcod.9316$Vy.5721@trndny06>...
> >>I went to the Philly ...guitar show today, as
> >>I'm sure many readers in the area did as well. ...[]...
> >>- Tons of guitars, as expected. I couldn't believe the number of
> >>guitars, nor could I believe the prices on a lot of them - particularly
> >>the "collectable" ones.
> > Lots of kewl archtops. Best archtop deal I saw at the show:
> > 1951 L-7C w/beat case & w/Dearmond 1100, including working cable... $1,995
> > A few properly repaired back cracks, otherwise just very dusty.
> I suppose. Personally, I would never pay more than $900 for a guitar,
> particularly not for one that has repaired cracks or whatever. But that
> brings up a whole nother debate I'd rather not get into...
No problem. I think you have communicated you thoughts on this front
most effectively. Different strokes and all that.
> What is
> surprising to me though is how anyone could really shop for a guitar
> while there. I mean, it was so noisy and busy, how do you really try out
> a guitar there? Or is it the type of thing where, you already know you
> want an L-7C or a Benedetto or whatever, so you just strum it for a
> minute amidst the crowds and the salespeople all on top of you, and then
> you buy it? It just seemed like a strange place to buy a guitar to me
> believe it or not : ) ...[]...
The human brain is a powerful organ. It is capable of extreme focus,
even in an environment such as a guitar show. And no one gets on top
of you when you're about to drop 2k on a guitar. If you know what you
are looking for, know what to look for, and can deal with the
environment, guitars shows can be most pleasant places to buy guitars.
If one wishes to review the subtle acoustic nuances of an instrument
in that environment, dealers are generally perfectly happy to
accommodate you, with quiet listening rooms off to the side, cones of
silence and so forth.
thomas
> >
> > Lots of kewl archtops. Best archtop deal I saw at the show:
> > 1951 L-7C w/beat case & w/Dearmond 1100, including working cable... $1,995
> > A few properly repaired back cracks, otherwise just very dusty.
>
> I suppose. Personally, I would never pay more than $900 for a guitar,
> particularly not for one that has repaired cracks or whatever. But that
> brings up a whole nother debate I'd rather not get into... What is
> surprising to me though is how anyone could really shop for a guitar
> while there. I mean, it was so noisy and busy, how do you really try out
> a guitar there? Or is it the type of thing where, you already know you
> want an L-7C or a Benedetto or whatever, so you just strum it for a
> minute amidst the crowds and the salespeople all on top of you, and then
> you buy it? It just seemed like a strange place to buy a guitar to me
> believe it or not : )
I think it's strange too. But that L7C was a good deal.
At that price you can always get your money back out of it
down the road, and odds are that it will be a real fine guitar,
if you like that sort of thing. Cracks in a functioning guitar
of that age are usually more cosmetic blemishes, not indicative
of a serious problem. That's what made it such a good deal.