Great vocal tips. Listen to these phenomenal vocal-harmonies: CSN: Suite Judy Blue Eyes, Simon & Garfunkel: Scarboro Fair & Seals & Crofts: Diamond Girl.
Hey Mick good in ya covering for Dan lol. I went a bit overboard on Boss recently, got a GE-7 equalizer, an MT-2 metal zone, a CS-3 compression sustainer, and an IR-2 amp/cabinet. So far, I love them all! Cheers!
The person who can both organize information and convey understanding has a basis to become a teacher of whatever they learn (now or later). If those efforts require a team - so be it. You and Dan are amiably complimentary - a definition of "team" personified.
Lovely episode, Mr Taylor. Thanks for doing a solo run - plenty of us enjoy these sessions just as much as the wonderful Friday episodes. Much appreciated.
Fair Play Mick, for the weekly dose of TPS VCQ riding solo. The very best of Irish Luck on Thursday night with your Blues Implosion gig. We expect a full report on Monday!
Having largely taught myself just about anything worth knowing (beyond the associate degrees in drafting and cardiovascular sonography), the value of the skill to do so is incalculable.
Hey Mick, nice to see you doing the best show on RU-vid on your Jack Jones and keeping us TPS fan's Happy. TPS always more than the sum of its parts ( BUT WE ALWAYS NEED ONE OF YOU !! ) have a great Week. PEACE AND LOVE TO EVERYONE ❤❤.
Switch to a tele Mick i have five and they are all different but no need to work hard just set and forget .love the show you bring, big fan, wishing i lived in England I’d be at your shows but it’s a bit far to come from Adelaide Australia .
I’ve gotta say that now that I have pedal reverbs and multi effects that sound massive and have dozens of reverb options and stuff, I don’t miss spring reverb in an amp at ALL… (especially in a wet -moist?- amp that’s getting all my effects anyway)
wow - so looking forward to the tweed amp episode with Jesse & Ed. I just got myself a 5E3 build with a 60's Jensen that I'm quite fond of. Looking forward to seeing you explore that while grow acquainted with my new love
Billy Sheehan once suggested that your instrument should hang the way you practice, and let there be no change when you go live. Makes sense, but that would be too high for me. My strap gently touches my back when I sit down and practice, just enough to support a little. But I've always thought about that approach. FWIW
Apologies if someone has already said this but the Beatles tune you mentioned is likely to be Get Back. George’s ice pick sound on the tele contrasting with John’s muddy lead played on his Casino.
As ever, TPS hits the park out of the ball - even at 50% complement!! I’m on the verge of singing. Watch out… listen out, perhaps?? Great VCQ on your tod, Mr Taylor.
My experience with trying to develop a dB level to room air volume ratio has lead me to a "rule of thumb" that states...Well, inconclusively, an 80dB output in an 11ftx10ft room with an 8ft ceiling is hopelessly small (and just too quiet) to allow any decent guitar amp to breath. And yet I allow myself to be stuck here most of the day. My problem is less to find an amp to "fit" the room than a room large enough to support adequate sound volume. I assume the designers of an amp have adjusted so that "best" tone should not become limited beyond minimum room size. The manufacturers really should provide their recommendations as surely they've tested for them. I'd probably need be satisfied with dB levels in the low 90s tp protect my ears.
I'm going to second the notion of going Gibson above 40 years old. I'm 45 and for the last year or so all I want to do is play my les paul. My other guitars are easier to play but the Lester just sounds better.
My Strats hangs a little higher than I'd like, but it makes rhythm playing easier and when I have to play fast/more technical I tilt them a little up (headstock up) to accommodate better left hand position. If I only played Clapton style I would hang them lower.... FWIW
Regardless of guitar body size or style, I adjust every guitar to fit with my hand approach to the neck. That approach is determined by chord fingering stretch and scales follow that also.
Mick, since you demonstrated the Albert King thing, I've been meaning to ask you about something you do - it's a lick I've only ever heard you use when a blues goes to the IV chord. Say we're in G; when the chord moves to C, you play this thing where you do a half-step slide into the major 3rd of the IV chord, so Eb to E, and then there's this fast tumbling downward arpeggio that I think ends on the same note but an octave lower, so E, then usually you snap back to the root of the key right above that, so G. Buh-DUH, biddly-dee DAP. Starts with the slide on the last upbeat of the previous bar, so it lands with that first E directly on 1, and then the last note is on the upbeat of 2, like "uh-ONE, diddly-two-AND." I think you might be sweeping the whole downward part with one stroke across several strings?
I know exactly what you mean Michael! Works great across the IV chord. You’ve explained it better than I understand it! The middle bit is a rake yes. Maybe we can look at that next Monday!
I love my Supro Delta King 12 with an ODR1 and a voodoo lab sparkle drive. However, I don't use high gain sounds. The gain is set at noon on the odr1 and the gain at about 10 or 11 o clock on the sparkle drive that has some clean mix dialed into it. You might be able to use something similar with the ac 15 and the Princeton
Thanks for a great episode with the cranked amps. After watching it I would really like an episode focused on your kind high gain tones. I know your somewhat against a high gain episode but both of you always seem to really enjoy it you venture into high gain territory. I dont mean metal tones but instead your kind of high gain tones, and in some ways Jimmy is more high gain than most metal bands anyway. I all cases have a great summer. From sweden with love!
Both my bands play mostly classical black metal and Im trying to introduce that playing with less gain would be good sometimes but its an upphill struggle😅. Thanks for all that you do, I coulnt even if i tried to explain how much positivity you spread to so many people all over the world!! In my case I almost had given up on a career in music but now my band has had a breakthrough and I can honestly say that you guys have been my greatest inspiration through out!!
Guitars and live mixes... I'm mostly a tele guy and tele punch and quick attack dynamics always get me heard even though my Nocaster reissue and Ellis pickup set-up is far from thin. My other live guitar is a Gretsch Jet. The Jet has a lot more low mids and less attack transient being chambered. I find that guitar suits songs with less going on mix wise, and also tends to worker better in songs with slower tempos. In those situations it sort of allows me to play less will extra natural sustain, the romance of a Bigsby and feedback on demand. :-)
Based on cable lengths not beyond 18ft, I'd need to be about 15ft from the amp. The amp should probably be between 1.5 to 3ft from a wall. All that adds up to a minimum room size of 20FT (plus) square (& hopefully with at least a 12ft ceiling. That is then, a "living room"(or game room) and not a "bedroom".
I've discovered that I previously had difficulty singing, at least partly, because I was too quiet. Singing alone in the car with the volume well above road noise helped in hearing myself, partly because I was louder and less inhibited.
Hey Mick, talking of boosts into cooking amps - have you ever heard or tried a PastFX BLD? It's a cleaned-up, bulletproofed version of the old TC Booster Line Driver, much loved by Allan Holdsworth, and it's flat-out astonishing. Other than a Rangemaster with a Vox, I have never, ever heard a pedal that can push an amp into heavy overdrive while totally retaining the amp's character like the BLD can. It truly sounds like adding preamp tubes, kind of the same way that Dumble ODSes aren't really channel-switching amps, they're one big channel with different sections you can switch in and out. I'm usually much more into amps and guitars than pedals, but I've become an unashamed PastFX fanboy. They take old, beloved, hard-to-find, expensive, fragile circuits, fix any obvious problems, usually add an obvious feature or two, put them in rugged standard-size enclosures, and sell them for less than a new Boss pedal. Truly sacred labor for the good of all mankind. I just got their versions of 2 Pete Cornish pedals I thought I'd never get to play! (They're Aussie as well, and if Dan has any connections to her, I'd love to see Verlie Kirkwood of PastFX on TPS sometime. It would be fascinating to learn how she takes something old, beloved, and very specific, then fixes what needs fixing without disfiguring the core sound at all. Not a common talent!)
I wear a mask in shops and get some very strange and sometimes aggressive looks. People always assume it's a COVID thing and it's not ( NOT THAT IT'S ANYONE'S BUSINESS ) it's another Medical condition which is somewhat Embarrassing and personal so I would implore people not to jump to conclusions, although I was just as guilty as the next person before my life changed, that's the plus side of becoming a more thoughtful person ISH !!! . PEACE AND LOVE TO EVERYONE ❤❤.
Used to use one of the Line 6 ones a while back… then realised what they do to various pedals RE buffers and so on. So stopped using them - traditional fuzzes hate them, for example. Cheers!
Mick, what is the silver panelled amp head on the worktop behind your right shoulder (with the Jam multi pedal on top of it)? Not noticed that one before!
@@ThatPedalShow ah wow, all this time when you guys talked about the Wallace I thought you were referring to the big one next to the Hiwatt, with the sort of grey Tolex, so what is that one?
For me its more where my right hand is, on height. And of course, left hand has to be comfortable playing real chords. Too low is just poser and too high is just pretentious look at me I'm serious.
If your appearance is the lasting impression you have failed to deliver the music. The performer (whether singing or not) must always out "shine" the gear.
