The guitar corner

[Shawn]

Not working at all keeps me out of trouble.

[jazzbo]

I don't think it's not working at all, but rather in part inertia, and in large part my amazing (in my opinion) girlfriend that keeps me out of trouble.

I've been really enoying playing my Les Paul and Tele caster through the Damage Control "Liquid Blues" preamp/overdrive "pedal" lately. Man, it really can make the cabinet melt if you dial it up, or it can add a nice grimey grit.

[7/4]

That looks like industrial strength preamp distortion. I guess the tubes light up the sides?

[jazzbo]

Yes, that's what it is, and yes they light up. You can bypass, you can have moderate distortion or you can have the tubes so overloaded they complain. You can mix wet and dry. Etc.

Sound samples here:

http://damagecontrolusa.com/products/liquid-blues/

Class A Crunch

Gorgeous and subtle dual 12AX7 tube crunch.

Dynamic and flexible class A gain structure. From subtle blues to heavy crunch with a twist of the drive knob.

Studio quality opto-compressor based on a classic circuit. Dial in your dynamics simply and easily.

High order multi-stage treble control for detailed high end response.

Clarity control sends a parallel clean signal through your liquid blues allowing a unique mix of clean and dirty. A secret technique of the pros for years.

10dB of additional footswitchable gain via “nuclear” footswitch.

Remote switchable via standard TRS cable and remote switching controller.

Superior Analog Performance

True Bypass. No compromise relay true bypass for zero loss bypass signal performance. NO tonal degradation.

Premium low noise signal path.

Dual 12AX7s run at their full 250V plate voltage. No starving plates here.

Edited May 20, 2009 by jazzbo

[jazzbo]

Anyone have a Fender Strat/Tele bridge ("ashtray") cover they don't want? I'm looking for ones that will fit the bridge on say a '72 Tele Thinline Reissue. . . . The one Fender sells on their site does NOT (http://www.fender.com/products//search.php?partno=0992270100)

[Joe G]

I've never owned a strat!

Was listening to JazzyPaul's music on fb a minute ago, and thought of this guy:

http://www.pacocasanovas.ch/

Wonder why he doesn't stop by anymore...

[fasstrack]

I was listening to the early Bird sessions on Savoy and Dial and really enjoying the dates with guitar playing on them, Tiny Grimes, Alvin Garrison but Barney Kessel on the "Relaxin' at Camarillo" session is totally amazing, what balls he must have had to take solos in such company!!! I love the tone of the guitars from that era as well, totally raw.

I think the earlier the Barney, the better. Like Jammin' the Blues. For me, he got progressively more heavy-handed and corny. I liked his chords---they leapt out and announced themselves---and his blues feel and his soloing when he copied Christian. I like the job he did on Julie London's Julie is Her Name. After that it falls apart for me.

But he never was a bebopper. Jimmy Raney was the bebopper. Kessel was a real blues player and swing-era child of Charlie Christian. I doubt he was scared to play with Bird, though I wasn't in his head. He was a pro by then. He just didn't really exactly fit in, though he did a good job. I think the cats probably liked him well enough. Too bad Jimmy never recorded with Bird. He was the first guitar player to 'get it'.

Edited July 10, 2009 by fasstrack

[7/4]

I was listening to the early Bird sessions on Savoy and Dial and really enjoying the dates with guitar playing on them, Tiny Grimes, Alvin Garrison but Barney Kessel on the "Relaxin' at Camarillo" session is totally amazing, what balls he must have had to take solos in such company!!! I love the tone of the guitars from that era as well, totally raw.

I think the earlier the Barney, the better. Like Jammin' the Blues. For me, he got progressively more heavy-handed and corny. I liked his chords---they leapt out and announced themselves---and his blues feel and his soloing when he copied Christian. I like the job he did on Julie London's Julie is Her Name. After that it falls apart for me.

But he never was a bebopper. Jimmy Raney was the bebopper. Kessel was a real blues player and swing-era child of Charlie Christian. I doubt he was scared to play with Bird, though I wasn't in his head. He was a pro by then. He just didn't really exactly fit in, though he did a good job. I think the cats probably liked him well enough. Too bad Jimmy never recorded with Bird. He was the first guitar player to 'get it'.

Wouldn't that have been something!

[fasstrack]

I was listening to the early Bird sessions on Savoy and Dial and really enjoying the dates with guitar playing on them, Tiny Grimes, Alvin Garrison but Barney Kessel on the "Relaxin' at Camarillo" session is totally amazing, what balls he must have had to take solos in such company!!! I love the tone of the guitars from that era as well, totally raw.

I think the earlier the Barney, the better. Like Jammin' the Blues. For me, he got progressively more heavy-handed and corny. I liked his chords---they leapt out and announced themselves---and his blues feel and his soloing when he copied Christian. I like the job he did on Julie London's Julie is Her Name. After that it falls apart for me.

But he never was a bebopper. Jimmy Raney was the bebopper. Kessel was a real blues player and swing-era child of Charlie Christian. I doubt he was scared to play with Bird, though I wasn't in his head. He was a pro by then. He just didn't really exactly fit in, though he did a good job. I think the cats probably liked him well enough. Too bad Jimmy never recorded with Bird. He was the first guitar player to 'get it'.

Wouldn't that have been something!

He did sit in. Chris Anderson got to record (only b/c someone taped a gig). It was the thrill of both their lives, I'm sure. Jimmy was like 20 and already good enough.....I don't remember talking to either about it, but you can bet it was a thrill. I think Jimmy was quoted as saying 'to play with God'.........

A guitar player that did a nice job with Bird on his last ill-fated Verve album of Cole Porter tunes was Jerome Darr. Billt Bauer was on some of it, too. It's nice to have guitar instead of trumpet sometimes, b/c guitar can go from ensembles to comping to solos. No slam on Barney, BTW. He was in there and hung. Just not my favorite----but I dug him back in the day a lot more.

Edited July 10, 2009 by fasstrack

[Jim R]

Anyone have a Fender Strat/Tele bridge ("ashtray") cover they don't want? I'm looking for ones that will fit the bridge on say a '72 Tele Thinline Reissue. . . . The one Fender sells on their site does NOT (http://www.fender.com/products//search.php?partno=0992270100)

Did you find anything yet, Lon? I'm no Fender expert (I didn't realize there was more than one size for Teles in general), but I would think it shouldn't be too difficult to track one of those down.

[Cliff Englewood]

I was listening to the early Bird sessions on Savoy and Dial and really enjoying the dates with guitar playing on them, Tiny Grimes, Alvin Garrison but Barney Kessel on the "Relaxin' at Camarillo" session is totally amazing, what balls he must have had to take solos in such company!!! I love the tone of the guitars from that era as well, totally raw.

I think the earlier the Barney, the better. Like Jammin' the Blues. For me, he got progressively more heavy-handed and corny. I liked his chords---they leapt out and announced themselves---and his blues feel and his soloing when he copied Christian. I like the job he did on Julie London's Julie is Her Name. After that it falls apart for me.

But he never was a bebopper. Jimmy Raney was the bebopper. Kessel was a real blues player and swing-era child of Charlie Christian. I doubt he was scared to play with Bird, though I wasn't in his head. He was a pro by then. He just didn't really exactly fit in, though he did a good job. I think the cats probably liked him well enough. Too bad Jimmy never recorded with Bird. He was the first guitar player to 'get it'.

Interesting stuff there fasstrack, I suppose Barney never really was a bopper per say, just a really amazing musician. I think the amount of session work he ended up doing may have had something to do with the decline you're hearing, althought I must say, I don't really hear it myself.

But he did work for both Brian Wilson and Phil Spector and that would probably end up hurting anyone's brain. :D

[fasstrack]

I was listening to the early Bird sessions on Savoy and Dial and really enjoying the dates with guitar playing on them, Tiny Grimes, Alvin Garrison but Barney Kessel on the "Relaxin' at Camarillo" session is totally amazing, what balls he must have had to take solos in such company!!! I love the tone of the guitars from that era as well, totally raw.

I think the earlier the Barney, the better. Like Jammin' the Blues. For me, he got progressively more heavy-handed and corny. I liked his chords---they leapt out and announced themselves---and his blues feel and his soloing when he copied Christian. I like the job he did on Julie London's Julie is Her Name. After that it falls apart for me.

But he never was a bebopper. Jimmy Raney was the bebopper. Kessel was a real blues player and swing-era child of Charlie Christian. I doubt he was scared to play with Bird, though I wasn't in his head. He was a pro by then. He just didn't really exactly fit in, though he did a good job. I think the cats probably liked him well enough. Too bad Jimmy never recorded with Bird. He was the first guitar player to 'get it'.

Interesting stuff there fasstrack, I suppose Barney never really was a bopper per say, just a really amazing musician. I think the amount of session work he ended up doing may have had something to do with the decline you're hearing, althought I must say, I don't really hear it myself.

But he did work for both Brian Wilson and Phil Spector and that would probably end up hurting anyone's brain. :D

I respect him, just don't always enjoy him, rest the dead. But some of that early stuff----very happening.

[jazzbo]

No Jim, I haven't looked hard because all I've seen new and sealed doesn't work, and I don't want to pick them up randomly via ebay and have even more that don't work. I'll be alright without them i guess and I'll look around at some of the music stores here.

Ideally I'd like to find one for two Strats and a Tele.

Edited July 11, 2009 by jazzbo

[7/4]

I don't think I've ever seen one on a Strat made after I was born.

I still have the ones for my two Teles, I never use them, but I see no point in getting rid of them.

...

[BFrank]

No Jim, I haven't looked hard because all I've seen new and sealed doesn't work, and I don't want to pick them up randomly via ebay and have even more that don't work. I'll be alright without them i guess and I'll look around at some of the music stores here.

Ideally I'd like to find one for two Strats and a Tele.

Lon, did you go to the Guitar show at SXSW? There were a LOT of vendors selling collectable stuff. Someone might have had some info on getting one.

[michel1969]

Agreed for Barney @ Camarillo (IMO Dodo steals the show, anyway).

Another Barney Kessel's summit is on "Lighthouse at Laguna" : an incredible "Round about midnight". Heard it a hundred times, but give me thrills each time i listen to it.

[michel1969]

Anyone have a Fender Strat/Tele bridge ("ashtray") cover they don't want? I'm looking for ones that will fit the bridge on say a '72 Tele Thinline Reissue. . . . The one Fender sells on their site does NOT (http://www.fender.com/products//search.php?partno=0992270100)

Did you find anything yet, Lon? I'm no Fender expert (I didn't realize there was more than one size for Teles in general), but I would think it shouldn't be too difficult to track one of those down.

An original part from the era (even the in-famous ashtray) may be somewhat pricey. Depends whether you are a collector or just player...

ashtrays

[BillF]

Another Barney Kessel's summit is on "Lighthouse at Laguna" : an incredible "Round about midnight". Heard it a hundred times, but give me thrills each time i listen to it.

Just got it out and played it. You're right! A very Christian performance!

[jazzbo]

No Jim, I haven't looked hard because all I've seen new and sealed doesn't work, and I don't want to pick them up randomly via ebay and have even more that don't work. I'll be alright without them i guess and I'll look around at some of the music stores here.

Ideally I'd like to find one for two Strats and a Tele.

Lon, did you go to the Guitar show at SXSW? There were a LOT of vendors selling collectable stuff. Someone might have had some info on getting one.

B,

I avoid all SXSW events like the plague. It's just me but I don't enjoy any of them I've attended in the past and don't feel the need.

I think 7/4 is right, they just don't make them for the modern Strats. I'm looking for one for a mahogany bodied Deluxe and a Corigan strat, and the '72 Thinline Tele reissue I want one for is not the classic Tele model, but has a Strat-like bridge. Ah well. I don't need them, just wanted to dress the guitars up a bit.

You're right Michel, vintage ashtrays can be expensive, and won't work for me. That link didn't open but i've been looking online.

Edited July 12, 2009 by jazzbo

[BFrank]

No Jim, I haven't looked hard because all I've seen new and sealed doesn't work, and I don't want to pick them up randomly via ebay and have even more that don't work. I'll be alright without them i guess and I'll look around at some of the music stores here.

Ideally I'd like to find one for two Strats and a Tele.

Lon, did you go to the Guitar show at SXSW? There were a LOT of vendors selling collectable stuff. Someone might have had some info on getting one.

B,

I avoid all SXSW events like the plague. It's just me but I don't enjoy any of them I've attended in the past and don't feel the need.

I don't blame you. If I lived there, I would do the same thing. The guitar show was still on Sunday and it was very quiet around the convention center. You might want to check it out next year.

[jazzbo]

Yeah maybe. I just have a strong distaste for SXSW events. Irrational in many ways, I know.

And then again, I really don't need to fuel my guitar mania! I've way too many axes and amps, and need to thin the herd.

[BFrank]

Yeah maybe. I just have a strong distaste for SXSW events. Irrational in many ways, I know.

And then again, I really don't need to fuel my guitar mania! I've way too many axes and amps, and need to thin the herd.

Actually, I don't think the guitar show is techically part of SXSW. They just moved the date to coincide.

Anyway, I can understand your aversion to all things SXSW. If it was in my town, I would avoid it like the plague.

[Shawn]

Heck with you guys, I went to SXSW the entire week and had a blast!

[jazzbo]

Glad you did. You're more into all the elements (the scene, the music, the drinks) than I am!

[thedwork]

sold my old guitar for a good price 'cuz i needed the money and bought two cheap guitars in case i feel like playing. one is a crappy acoustic (paid $40). the other is this:

SX Vintage Series Ash (mine has a black pick guard). it's obviously a tele copy. ash body maple neck. it's lighter than the real tele i had many years ago and for me that's a bonus. i only paid $85 for it so i figure even if it's pretty lame it wasn't a waste of money 'cuz i'd be able to re-sell it for that without much effort. but so far from the little playing i've done on it, it seems kinda nice. and certainly well worth the price.

wondering if anyone here has owned/played one and can give me some impressions or advice.