Super Reverb - If you compliment me, baby - live @ "The Lady of Liberty" (Hello - Le) 04/06/2010

I run Super Reverb "If you love me, baby" Tony Sheridan & ie, the Silver Beatles on stage of the Second Edition of "Lady Liberty", Event Music NATO IN 2009 during the tenth anniversary of the disappearance in March and organized by Fabrizio De André Circolo ARCI Cassandra Salve (LE). The War Edition 2010 (is over) and a dedicated entirely John Lennon and the Beatles. The Super Reverb: Jessy Mature - Salvatore Cafiero voice - guitar, Tonio Longo - Longo Philip Low - Drums ARCI Cassandra- Hello (The arcicassandra@libero.it)



http://www.youtube.com/watch?v=tLG1Ps-Xrwc&hl=en

DUMBLE OVERDRIVE SPECIAL TONES WITH A DRIVE N SYNC HEAD 50 w T. MIRANDA TUBE AMP ROBBEN FORD STYLE.

Eric Assmar - DRIVE CHANNEL__________________________________________________________________________________________________________________________________________________________________ "FUCHS OVERDRIVE SUPREME TEST" TELECASTER "BASSMAN LTD CLEAN" "SUPER REVERB BLACK FACE DEMO" "FUCHS ODS30" "CLONE GIBSON" "john mayer two rocks" "STEVE LUKATHER" "SERRANO VICTORY 35" CONQUEST CLASSMAN "FARGEN VOC Amp" "MG Astoria" "BRUNO COWTIPPER 45" "BRUNO S100" "LEAD MAN 60" "VICTORIA 518" "VICTORIA ELECTRO KING" "2STROKE AMPLIFIER" "MATCHLESS TEST AMP" "EDUAS FORDYFLOW" "ROBBEN FORD GUITAR RIG" "JOHN MAYER GUITAR RIG" "Two Rock Jet AMP" "ROBBEN FORD INTERVIEW" "TWO ROCK J2"



http://www.youtube.com/watch?v=5BAxYbbPcYo&hl=en

Star Spangled Banner/Purple Haze - Woodstock appearance - aboriginal take

Recorded August 18, 1994 at an open stage, this is my first-time, totally unrehearsed performance of Jimi's Woodstock Star Spangled Banner and Purple Haze. Sam Beason - Bass Shawn - Drums Eddie Grey - Guitar/Vocal



http://www.youtube.com/watch?v=Md1om1v4YFU&hl=en

Guitar Scales For Country Music

The trick with music theory is to break everything down into
baby-step i.e., guitar scales for country music, guitar scales
for bluegrass music, guitar scales for jazz music, guitar scales
for rock music.

Let's say your primary style of music is country music. We could
subdivide the subject of music theory into: what guitar scales
for country, what chord progressions for country, what style of
country music, what guitar techniques for country.

What guitar scales for country:

major pentatonic, major diatonic, cascading scales ...

What chord progressions for country:

two chord songs, three chord songs, four chord songs ...

What style of country music:

Traditional country, modern country, country rock ... What guitar techniques for country:

Hammer-on's, pull-off's, bends, slides ...

As you zero in on the specific skills you need to learn the
complex subject of music theory becomes a lot less stressful
and much more achievable.

By dividing and sub diving any complex subject you also learn how
to accelerate your progress on guitar. The scales you would
learn for country guitar would be determined by what style of
country music you intended to play.

Instead of just saying "I want to play country guitar", if you
are prepared to dig a little deeper, you will decrease the amount
of information and skills you need to acquire by looking at each
area of country guitar playing i.e., chord progressions, if you
predominately played three chord songs in the keys of G and D,
you would only have to learn four chord shapes.

Three chord songs in key of G: G - C - D

Three chord songs in key of D: D - G - A

Although country guitar has spawned no shortage of modern greats
(Albert Lee, Ray Flacke, Danny Gatton, and the Hellecasters come
quickly to mind, although there are many others) in general,
however the music buying public doesn't really know how hip and
entertaining instrumental country guitar is.

Here's ten top country guitarists to get listening for specific
country guitar playing techniques.

1. Chet Atkins

2. Merle Travis

3. Jerry Reed

4. Roy Clark

5. Hank Garland

6. Albert Lee

7. Maybelle Carter

8. Doc Watson

9. Norman Blake

10. Tony Rice

The classic electric guitar sound for country music is
characterized by the undistorted sound of single-coil guitar
pickups, usually a Fender Telecaster or Fender Stratocaster, and
the employment of fairly undistorted amplification most often a
Fender Twin Reverb 100watt amp.

Guitar scales for country music are: major Pentatonic, major
diatonic, and to a lesser degree the minor pentatonic scale and
the blues scale.

The most popular guitar scales for country music are without
doubt the major pentatonic. the two most common ways of playing
this scale for country music is:

A major pentatonic scale (PATTERN 1)

sixth string, fifth fret, fourth finger

fifth string, second fret, first finger

fifth string, fourth fret, third finger

fourth string, second fret, first finger

fourth string, fourth fret, third finger

third string, second fret, first finger

third string, fourth fret, third finger

second string, second fret, first finger

second string, fifth fret, fourth finger

first string, second fret, first finger

first string, fifth fret, fourth finger

A major pentatonic scale (PATTERN 2)

sixth string, fifth fret, first finger

sixth string, seventh fret, third finger

sixth string, ninth fret, third finger

fifth string, seventh fret, first finger

fifth string, ninth fret, third finger

fourth string, seventh fret, first finger

fourth string, ninth fret, third finger

fourth string, eleventh fret, third finger

third string, ninth fret, first finger

third string, eleventh fret, third finger

second string, tenth fret, second finger

The fingering for the A major pentatonic scale (pattern 2) may
seem a little unusual at first, however with a little practice,
it will work out fine.

Both these patterns feature the same notes in the same
sequence, if you play each scale slowly and listen carefully you
will notice however a tone from certain notes, this is because
the notes are being playing on different strings resulting in a
different tone. Thicker strings produce a more mellow tone.

By learning these guitar scales for country guitar you will soon
be playing your favorite country guitar sounds.

Microphone and Vocal Techniques For Recording Like a Pro!

Having good "Mic Technique" means two things: 1.) Understanding that a microphone's diaphragm reacts with varying sensitivity to your vocal performance. 2.) Knowing how to adjust your body according to the dynamics of the delivery. If you're going to deliver a quiet, intimate vocal from start to finish, you can afford to position your mouth just a few inches (or even less) from the microphone. If the vocal is to be sung full volume throughout the song, you may stand a couple feet away. Quite often, though, a song is dynamic enough to require different amounts of air to be pushed at different times. Singers with good mic technique will move their body closer to or further away from the mic as the song unfolds. Ideally, your mouth is as close to the mic as possible before overloading it with level (which will cause it to distort or, with super-sensitive mic's, to temporarily shut down -this will always be blamed on the engineer, even if it's the singer's fault.) Tip: don't be afraid to move your head back a couple inches for just a phrase or even a syllable - you can also aim your mouth slightly above or to the side of the diaphragm for particularly loud moments.

Room Microphones

Room mics are used to give a recording a more ambient and live sound. Room mics can be used in stereo or mono, but one must always be aware that they do have an effect on the phase relationships of all the other instruments being recorded simultaneously in the same room. Engineers often use stereo room mics placed about six feet high, and about ten feet from the drum kit to enhance the drum sound. Other engineers will use a single mic in omni placed near the floor, and pointed at the kick drum. There are endless combinations of placements, and ultimately, each has to be the decision of the engineer and producer. There is no pat prescription for placing room mics.

Dynamic and Condenser Microphones

In the simplest of terms, a dynamic microphone is basically an iron core surrounded by a coil of copper wire much like an electromagnet. When sound waves hit the core and move it, it causes the core to move within the coil, which generates electrical impulses that become translated into sound when they go through a mic preamp. A condenser mic (or electret condenser) is essentially two extremely thin, metal (typically gold) partialcoated Mylar membranes, which are separated by a very thin insulating layer of air. One side is positively charged, the other is negatively charged. When sound waves, or sound pressure hits the "diaphragm," it creates electrical impulses that become translated into sound when they go through a mic preamp. Generally speaking, dynamic mics are less expensive, are less delicate, handle extreme sound pressure levels better than condenser mics, but don't sound as good as condenser mics. There are many situations in which a dynamic mic is the better choice though. Many engineers use them on drums of all types. They are very well suited for applications where high sound pressure levels are anticipated. Condenser mics are generally thought to be richer sounding, with more "detail." But while they may sound better, they are also more sensitive to high sound pressure levels, and somewhat prone to distortion if exposed to too much level. Condenser mics often have variable pattern switches on them, allowing engineers to choose a cardioid pattern, hyper-cardioid, figure eight, or omni.

Getting Rid of Mouth Pops and Lip Noise

Obviously, most engineers use pop filters to eliminate pops, but there are more than one kind of pop filter. Many stage mics already have them built in, hence the large ball-shaped screen over the mic's capsule. But most studio mics use a foam pop filter or windscreen that slides over the end of the mic. Those work well, but some people think they eliminate some of the microphone's ability to capture high-end sounds. It's an arguable point. A more popular type of windscreen that has emerged in the last decade is the nylon stocking variety. In its simplest, home-brewed version, it is just a piece of nylon stocking stretched over an "o" shaped piece of sturdy wire like a section of coat hanger. The filter is placed between the singer's mouth and the microphone to eliminate any blasts of breath that would cause a pop. There are several companies that now manufacture the nylon stocking type of pop filter. Maybe the most effective way of all to eliminate pops is to just place the microphone so that the singer's mouth doesn't blow directly in to it. Placing the mic slightly off to one side, but angled at the singer's mouth will almost always cure a popping problem. Just make sure that you haven't placed the mic so far off-axis that you affect the sound of the mic by going outside the mic's pick-up pattern. The best prescription in the world for getting rid of mouth noise is to simply have the singer drink water, and lots of it.

Unique Vocal Techniques & Reverb

The opportunities to make a vocal sound unique are endless, bound only by your imagination. Sometimes the more obvious effects - 'telephone'-like filters, heavy-pumping compression, ethereal reverb - are exactly what works for the song. But you can also have the vocal sung into a megaphone, or come off tape into a guitar pedal, an amplifier, even the Leslie speaker that was built for Hammond organs (if you're lucky enough to own one.) A lot of digital effects boxes will simulate these sounds, but they don't always come out as good as the real thing. Wah-wah and distortion pedals are extremely useful in giving your vocal a different sound. And you can get great kinds of distortion by deliberately overloading a circuit. Try patching your vocal, from tape, into a mic-pre with its gain turned all the way up. Every model of mic-pre out there produces its own type of distortion when overloaded, so if you don't like the sound of one, try again with another. This trick also works with compressors - just turn the input all the way up. (Note: if you try this idea, start with the fader down on the channel where the signal is returning.) And remember that too much effect can come off as gimmicky. Blending just a little bit into the main (dry) signal allows you to create a sound that's fresh without drawing attention to it. (Of course, sometimes that's the point.) Tip: Are you looking for a unique vocal reverb? Before you send the vocal to the reverb unit, patch it into a flanger first. If you dial in just the right amount, the listener may not even pick up on your little trick. But the overall vocal sound will be unique and more interesting. Most of the time people think of reverb in terms of extremes: either they like a lot of reverb or none at all. But there's a middle ground that's very useful when you want a natural sounding vocal that's neither too wet nor too dry. Like when you want to process it so it sounds unprocessed.

Final Thought on Vocal Tips & The Use of Reverb

Listen to your vocal (with reverb) in solo and dial-in a cool, vibe reverb that has a relatively short decay and 0-2 reflections (feedback). In solo, the reverb should be plenty audible. Then take those faders out of solo and while listening to the whole mix, adjust the amount of vocal reverb to the point just below where you can detect it. By setting it to where you can't hear it but it's definitely there, you're using the reverb more as glue between the singer and the band than as an obvious effect. This is great for when you want the whole band to sound like they're in the same room without settling for a totally dry, unexciting ambience. Most of the time people think of reverb in terms of extremes: either they like a lot of reverb or none at all. But there's a middle ground that's very useful when you want a natural sounding vocal that's neither too wet nor too dry. Like when you want to process it so it sounds unprocessed.

Final Tip: Listen to your vocal (with reverb) in solo and dial-in a cool, vibe reverb that has a relatively short decay and 0-2 reflections (feedback). In solo, the reverb should be plenty audible. Then take those faders out of solo and while listening to the whole mix, adjust the amount of vocal reverb to the point just below where you can detect it. By setting it to where you can't hear it but it's definitely there, you're using the reverb more as glue between the singer and the band than as an obvious effect. This is great for when you want the whole band to sound like they're in the same room without settling for a totally dry, unexciting ambience.

Marshall JCM 602 (JCM 600) Test

http://www.youtube.com/watch?v=wZ425OT3Ne0&hl=en

Guyatone MC3 Chorus Pedal vs Rocktron DEEP BLUE guitar furnishings pedal audience shootout

Check out www.tunnelvisionmusic.com for lots of these cool pedals and white coil cords! Guyatone Micro Chorus vs the Rocktron Deep Blue Chorus. Both pretty cool warbly pedals...I used a Classic Players Jazzmaster, which I just got that day, and had a tough time playing it...the scale length is strange to get used to....but I'm never one to dump a demo, so I posted it anyway!!



http://www.youtube.com/watch?v=PWzVc1QJuww&hl=en