Joined: 10 Sep 2004 Posts: 2783 Location: Chino, CA
Posted: Wed Sep 15, 2004 4:00 am Post subject: Teaching
Guthrie, how many students do you preside over in a typical week? I know you're teaching at a music school in Brighton, right? Few days per week and several classes per day? Do you also give private lessons at home? I'd imagine that you enjoy teaching? I ask because great players don't mean great teachers and was just curious what your approach to teaching was. _________________ Ed Yoon
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BOING Music LLC - Managing Partner
.strandberg* Guitars USA
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Guitar Center Inc.
hey, guthrie, hope you can make it out here someday. just avoid the summers!!! sedona sure is beautiful, isn't it? tempe is the opposite way south from phoenix. down this way we have forests of 50 foot cacti that are just as enchanting!
I got a copy of the Fellowship show and it is amazing. it sounds like you guys have a lot of fun.
anyway i was wondering what pedals you were using at your Fellowship shows.
Ed was wondering about the ring modulator too.
I got a copy of the Fellowship show and it is amazing. it sounds like you guys have a lot of fun.
Oh, yes - I can solemnly assure you that the money the club pays us is less than motivating, so we might as well have a blast while we're there.
I've come to describe that gig as "Therapy Night"...
drezdin wrote:
anyway i was wondering what pedals you were using at your Fellowship shows.
Ed was wondering about the ring modulator too.
Okay - it goes like this;
FRONT END:
* Digitech Whammy (preferred the Whammy 2, but it commited hara-kiri at an Asia gig, and I don't think they make them any more!)
* Moogerfooger ring mod (w/ expression pedal to control the frequency - robo-tastic!)
* Guyatone piece-of-sh*t WR2 envelope filter (cost next to nothing, takes up hardly any floorspace, sounds nearly as good as my unwieldy Q-Tron plus... just for the record, Stevie Salas converted me to those little pedals; they made him a signature version...)
* T-Rex Mudhoney (gnarly fuzz box)
* Dunlop wah (the one with the 5 EQ presets; don't particularly like any of them, tbh, and should probably investigate a Vox or a Colorsound, or something...any recommendations, anyone?)
* Morley volume pedal (If I wasn't such a lazy slacker, I'd replace that with an Ernie one, at some point - the curve feels more logical on those, from what I remember.)
IN THE LOOP:
H2O chorus/echo
T-Rex Replica
BEARING THE TERRIBLE BRUNT OF ALL THE ABOVE:
One Cornford Hurricane, master vol up full, gain about half-way.
I suppose I really should grow up and learn to cope without all the silly toys.
But they're too much fun, so they're staying
* Dunlop wah (the one with the 5 EQ presets; don't particularly like any of them, tbh, and should probably investigate a Vox or a Colorsound, or something...any recommendations, anyone?)
I'd recommend you check out Stuart Castledine in the UK and see if he can voice a wah to your requirements. You have to love his custom coloured pedals, they look like a Tomy My First Wah Wah!
We've had this all out before, they aren't cakes..
Is that Andi's !Tomy My First Wah" in that picture? I still think the selector should be red.
I recently got a Jen Wah from ebay, I had one in the 90s, most toneful, it's got a Fasel inductor in it too... which is nearly as potent as the dust of the grand wazoo. Well anyway.. _________________ Fabulous powers were revealed to me the day I held my magic Suhr(d) aloft and said "by the power of great scale!"
Joined: 10 Sep 2004 Posts: 2783 Location: Chino, CA
Posted: Wed Sep 15, 2004 9:45 pm Post subject:
Guthrie, you should consider the RMC/Teese wahs. If you don't need adjustments for sweep, Q and a preset volume level boost, I'd recommend the Picture Wah. It's considered the "Holy Grail" by the hardcore wah enthusiasts. It's pretty straightforward like a regular Cry-Baby or a Vox 847 with no knobs, switches or internal trim pots.
Your rig is pretty simple. I mean, at the clinic, you were basically going straight into the amp except for the Boomerang which you weren't using at all for perfoming on the album tracks.
Are you happy with the H2O? Cuz if you aren't, I've got plenty of choices here! The T-Rex Replica is a great delay pedal - kinda pricey, but the best one out there IMO. That Moogerfogger ring modulator sounds great. I'll have to look into those. Yeah, the T-Rex Mudhoney is a pretty gnarly fuzz box.
BTW, aren't you using the Fishman Blender for the piezo output of the Suhr? How is that working out? _________________ Ed Yoon
Certified Guthrie Fan-atic
BOING Music LLC - Managing Partner
.strandberg* Guitars USA
Ed Yoon Consulting & Management
Guitar Center Inc.
Joined: 12 Sep 2004 Posts: 20 Location: Liverpool, UK
Posted: Wed Sep 15, 2004 10:27 pm Post subject:
I have a question!
What's the background noise of your WR2 like? Mine is too noisy to use without some serious noise gateage and as it's the only one I have tried, I don't know if it's faulty! One day I'll get around to modding/fixing it when I don't have pedals to make and mod for other people! But the paying customers come first!
As for wahs, I agree with Rich (Bowks) send the Dunlop to Stuart Castledine and get him to work his considerable magic.
I must point out that the colours of that wah in the pic are down to Andi himself (Andi Allan of Monkey FX - top bloke, makes the best boost pedal I've heard...) though the board is indeed a Castledine.
Joined: 12 Sep 2004 Posts: 21 Location: Lincoln UK
Posted: Wed Sep 15, 2004 10:55 pm Post subject:
Course when you get better you won't need all that crap.........
By the way Rich, you'll be glad to know that your Keely tube screamer didn't blow my amp up. _________________ It is the height of bad manners to light one's cigar from a burning hat.
Joined: 10 Sep 2004 Posts: 2783 Location: Chino, CA
Posted: Wed Sep 15, 2004 11:50 pm Post subject:
thing wrote:
Course when you get better you won't need all that crap.........
Well, there are still many great players who use mega rack systems. It's really about adding color and texture to fit the musical purpose. A classical composer may decide he/she needs a 30-piece orchestra or a 150-piece orchestra depending on what the music calls for. I don't think effects need to be viewed as a crutch. Some people do use them tastefully. Gilmour is a prime example. His rig is probably the biggest with the most complex routing ever I've seen! _________________ Ed Yoon
Certified Guthrie Fan-atic
BOING Music LLC - Managing Partner
.strandberg* Guitars USA
Ed Yoon Consulting & Management
Guitar Center Inc.
Joined: 12 Sep 2004 Posts: 21 Location: Lincoln UK
Posted: Thu Sep 16, 2004 12:10 am Post subject:
Sorry Alex, forgot you were US, it's what we call irony over here.........
I don't think (seriously speaking for once) that you could compare an orchestral composers requirements with those of a mega rack guitarist. I do think that a lot of guitarists use them as crutches, nothing wrong with that, whatever gets you through the night etc. But I've heard players who do use tower block size racks playing without them and a lot of them sound awful. Not all, but a lot. Dave Gilmour is one of them, and before I get bombed let me say that I'm a lifelong Floyd fan, indeed a Gilmour fan in the context of Floyd. Give him a guitar and an amp though and he wouldn't last two minutes down the local jam night. He's been on TV a few times, most notably trying to play some blues on an acoustic, and backing Paul McCartney on a chat show, and you could only feel embarrased for the guy to be honest. I'm not a purist or anything, I couldn't give a hoot whether people use effects or not, the only reason I don't use them live is because I can't be arsed, it's nice and easy just to take an amp and plug a guitar into it. _________________ It is the height of bad manners to light one's cigar from a burning hat.
Joined: 10 Sep 2004 Posts: 2783 Location: Chino, CA
Posted: Thu Sep 16, 2004 12:33 am Post subject:
Perhaps the orchestral requirements of a composer is not the best analogy, but I do think guitarists such as Adrian Belew, Robert Fripp, Andy Summers, David Torn, to name a few, do use effects well in a textural kind of a way and it's their thing. I have no qualms about people using tons of effects if it enhances what they're doing on the guitar and has a valid musical purpose.
I agree that there are tons of players who use effects as a crutch to hide their deficiencies, but there are some who use it very well and I see them at the shop all the time with their big pedalboards and rack systems. Some are better at it than others, but if they're good players and use the effects judiciously and tastefully, I say all the power to them. _________________ Ed Yoon
Certified Guthrie Fan-atic
BOING Music LLC - Managing Partner
.strandberg* Guitars USA
Ed Yoon Consulting & Management
Guitar Center Inc.
Joined: 12 Sep 2004 Posts: 20 Location: Liverpool, UK
Posted: Thu Sep 16, 2004 12:38 am Post subject:
alexkhan wrote:
Perhaps the orchestral requirements of a composer is not the best analogy, but I do think guitarists such as Adrian Belew, Robert Fripp, Andy Summers, David Torn, to name a few, do use effects well in a textural kind of a way and it's their thing. I have no qualms about people using tons of effects if it enhances what they're doing on the guitar and has a valid musical purpose.
I agree that there are tons of players who use effects as a crutch to hide their deficiencies, but there are some who use it very well and I see them at the shop all the time with their big pedalboards and rack systems. Some are better at it than others, but if they're good players and use the effects judiciously and tastefully, I say all the power to them.
I'm with you there...
Sometimes effects can be a mask, but I like to think that I use effects to compliment my playing and ideas rather than support it.
In fact, Thing (we are familiar with each other's playing, and have actually jammed once!) has said I do just that in the past, so I suspect he has his irony gland working overtime tonight!
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