JMP/HBE
Well-known member
Bootleg recorded w/a Sony Walkman in the crowd what you expect ?
I had that same bootleg cassette in 1982.
Saying a LP is too heavy is like saying a Ferrari is too fast ...
- Thread starter JMP/HBE
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Bootleg recorded w/a Sony Walkman in the crowd what you expect ?
I had that same bootleg cassette in 1982.
I hear more about dead spots with bass necks. It is (at least sometimes) to do with frequency cancellation in the neck, and people say they've mitigated it in various ways, sometimes with a clamp or small weight attached to the headstock, sometimes by changing string gauges to change the tension the neck is under. I've never experienced it with my basses, but I also play bass with a decent amount of compression and distortion, so maybe that would cover it up? I dunno. Talkbass has some in depth threads on this if memory serves. Would be an interesting experiment to take something with a known dead spot and see what different amounts of mass at the headstock do to change it.
beaubrummels
Well-known member
THIS is a very acute problem on hollowbody basses. My Hofner has nasty dead spots and live spots all over the neck. You have to play every note completely differently to get an even bass line out of it. A compressor/limiter won't help on my hollow Hofner, it won't sound like natural playing. (Tried it.). That aside, it's still one of the top 2 basses I use for recording because if you play it right, it makes a great track that sits by itself in the mix and you don't have to do any monkey business with filters to get it out of the way of the other instruments and vocals.
beaubrummels
Well-known member
Interesting, it's heavy and clean. Looks like a Norlin 1970's SG (block inlays, including the first fret, like one of Angus Young's) and an Epi Sheraton with full hummers. But if she's playing a C chord and it still sounds downtuned, what are they in? Octave down E?? Also, I'm hearing riff bits that I don't see either of them playing in the video. Also, don't see the amps, would be interesting to know the full signal chain. Any maybe the strings they are using, if downtuned that far. Pretty heavy sound, though.
NegativeEase
New member
Seems like everything you own is tits man.
NegativeEase
New member
That says "t*ts" JMP/HBE -it was a compliment -but this vbulletin wont let me do anything to show it
beaubrummels
Well-known member
Hahaha. I see more than just t!ts. But yeah. :bad:
NegativeEase
New member
JMP don't own no junk
Gtrjunior
New member
Agreed. I feel like Tribute is probably a more accurate representation of Randy’s True Tone. The studio albums are way overproduced and have way too much midrange and high end with no bass.
Gtrjunior
New member
Baritone guitar possibly?
beaubrummels
Well-known member
Dunno. Looked like a regular SG and Sheraton to me. Is there a baritone Norlin SG? I know Chet Atkins for a while put two bass strings on his guitar for the low E and A.
solspirit
Ultimate Post Liker
It's nothing like live.
JMP/HBE
Well-known member
To be fair ive had lots of stuff but these days i think twice before pulling the trigger and always try to buy stuff that retains value.
I was so poor in da 80' [and working] that if i broke a string id tie it in a knot and finish the gig cause i couldn't afford a new pack.
M'erica' :usa:
I sure wish I could find the interview, because I saw a great video on this five or so years ago and it kind of settled this issue once and for all for me.
It was a couple of Gibson engineers from the '70s talking about how difficult it was to get decent wood..
So Gibson actually did the analysis at the time and realized that the heavy dense wood at the bottom of a giant mahogany tree didn't resonate well. As some have mentioned before, there's some frequencies you want to reinforce and some you want absorbed and the heavy trunks pretty much transferred everything directly to the pickups because nothing was resonating at all.
Their answer was to source new mahogany tops but of course there were a heck of a lot of '70s Gibsons made out of the extremely heavy stuff.
The interview also talked about weight relief. At the time, they went the other direction and found good wood, but they discussed the fact that strategically placed chambers can definitely add resonance and reduce weight, they just didn't have to go that direction at the time.
I think this is definitely one of the answers.. if you've ever played the Revstars that are very strategically chambered, it's hard to beat the lightweight, incredible sustain and great beef in that design.
And I have played some very hefty 10 to 12 lb LP's over the years. I think they all had sustain, but none of them had tone that I would write home about.
As always, they're bound to be exceptions to the rules!
It was a couple of Gibson engineers from the '70s talking about how difficult it was to get decent wood..
So Gibson actually did the analysis at the time and realized that the heavy dense wood at the bottom of a giant mahogany tree didn't resonate well. As some have mentioned before, there's some frequencies you want to reinforce and some you want absorbed and the heavy trunks pretty much transferred everything directly to the pickups because nothing was resonating at all.
Their answer was to source new mahogany tops but of course there were a heck of a lot of '70s Gibsons made out of the extremely heavy stuff.
The interview also talked about weight relief. At the time, they went the other direction and found good wood, but they discussed the fact that strategically placed chambers can definitely add resonance and reduce weight, they just didn't have to go that direction at the time.
I think this is definitely one of the answers.. if you've ever played the Revstars that are very strategically chambered, it's hard to beat the lightweight, incredible sustain and great beef in that design.
And I have played some very hefty 10 to 12 lb LP's over the years. I think they all had sustain, but none of them had tone that I would write home about.
As always, they're bound to be exceptions to the rules!
Gtrjunior
New member
I’m not really sure what was available at that time either. I do know that baritone guitars have been a thing for quite a long time. They were used in jazz before they became a rock thing.
But if it isn’t a baritone and that is somehow tuned down, man that’s really low. Those strings must be flapping like you read about.
Its amazing to me that build techniques have not evolved to where everyone is using chambered designs where they could make plywood sound good.
I remember playing a Parker Fly about ten years ago and it was built with modern composite materials. It was super lightweight and very resonant. (They don't make those any more afaik.)
And yet majority of builders using solid slab of wood for the body. Its almost as if they know something...
If acoustic resonance was the most important quality in an electric, then everyone would be playing hollow bodies. But we dont. Wonder why? Obviously, beyond a certain point it has a negative impact on the tone.
My shorthand:
Light weight = resonant = more filtering = less highs/lows = warmer sound plugged
Heavy weight = less resonant = less filtering = more highs/lows = bigger sound plugged.
This lines up with some of my guitars but not others. There's something else going on - maybe with neck construction and hardware? - that has a lot to do with amplified tone. Interested to hear from builders. My brightest and zingy-est guitar is also the lightest - a Steinberger baritone that I cut chunks off to make it easier to play. The relatively light Schecter E1 has a weird brightness that makes it hard to get enough low end. Meanwhile my solid, kinda heavy Explorer, that doesn't sound like anything unplugged, tends to have thick low mids amplified, even with no internal wiring (straight to the jack) and benefits from a bright, cutting pickup. But my LPs do follow this - the weight relieved 25.5 Epiphone sounds pretty great unplugged, but has no crunch or much of an identity plugged in, whereas the heavier ones have a good bit of "snap".
Yeah, the fly is somewhat case in point... They weigh a few pounds and are extremely resonant as you say.
Read an interview by Parker relatively recently where he reviews all the research and innovation but explains they were selling at a loss because they were trying to get foothold and they never able to get costs low enough for profits.
My primary stage guitar is a nitefly, which has a maple body... but the neck is the graphite and steel frets and everything about it is incredibly high quality.
JMP/HBE
Well-known member
All resonant debates aside ive had many [maybe 30+] guitars of all types including a dozen or so Gibsons LP & SG including Orville & Tokai 8.75 to 9.8+ lb range.
This Custom Shop LPC is by far the most full throated / full body / best detail sounding axe ive had.
Guess i just got lucky.
This Custom Shop LPC is by far the most full throated / full body / best detail sounding axe ive had.
Guess i just got lucky.
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