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DaveP

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Gibsons with P-90 pickups rule.

I like the clarity of P-90s a lot. I'm not as happy with P-90s for overdriven tone as much as humbuckers, though. Single coils are also prone to pick up surrounding line noise and crosstalk, too. It's funny, though, my Tele hasn't ever done what my Les Paul did in picking up crosstalk from the PA. I think that was a fluke.

Give me humbuckers for that smooth Billy Gibbons and Duane Allman overdrive tone. EVH also has a humbucker in the bridge position for those crazy, dirty, palm muted tones he gets.
 

bassnut

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Give me humbuckers for that smooth Billy Gibbons and Duane Allman overdrive tone. EVH also has a humbucker in the bridge position for those crazy, dirty, palm muted tones he gets.

I get that. I really have no complaints and really enjoy any good player who chooses humbuckers.
...but when I listened to pre signal processed, early Carlos Santana, I still get chills.
 

James Hart

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Gibson single coil pickups... the LP in Dave's avatar has them and the ES-335 he posted has "dog ear" P90s (has mounting ears). They are some of my favorite pickups... The SG and LP (regular or double cut away) juniors with just a P90 in the bridge are magic to my ears. A little thinner and edgier than humbuckers

Here is Keith Urban playing a double cut LP junior through his Hiwatt/WEM (David Gilmour's preferred rig forever) stack
'Kiss a Girl Sessions' Video Keith Urban AOL Music - YouTube

and a live performance of "Cold Ground" by Rusty Truck with single P90 bridge pickup in a custom made Tele clone (green guitar) that is one of my all time favorite lead tones
Rusty Truck - Cold Ground - Live - YouTube
 

bassnut

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I don't know what P-90's are, but I loved Humbuckers. I only play a classical guitar now.

Cause and effect? :lol:
Humbuckers are cool and if I were king I wouldn't outlaw them. Not in a million years. I just like the sound of single coils with as little signal interference between them and a (tube)amp as possible. Let the player's manual dynamics take care of the rest.
 
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DaveP

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I get that. I really have no complaints and really enjoy any good player who chooses humbuckers.
...but when I listened to pre signal processed, early Carlos Santana, I still get chills.

I remember Carlos Santana playing an SG with humbuckers, or were those black P90's?

ETA: I looked it up and he played a P90 SG at Woodstock and later switched between HB and P90's after that.

I think it's probably the output level of my humbuckers that make me love the ones I play today. They are Seymour Duncan Pearly Gates humbuckers with fairly high output. Those were designed for Billy Gibbons during his search for another guitar that sounded like his Pearly LP. I think it was a 59 model. At any rate, they are punchy and full of clarity, similar to my 56 reissue P90s on the Goldtop in my avatar. What I like about the SD Pearlies is that they are clear as crystal when played clean and growly and woody when overdriven. I've never encountered a set of pickups like the SD's and I keep coming back to that guitar over and over when I try to swap out one of my others here and there.

I love the clarity of the P90's on my avatar goldtop, but not really satisfied with them when overdriven. They are just missing something, but maybe that's just me comparing them to the Pearlies.
 

DaveP

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Gibson single coil pickups... the LP in Dave's avatar has them and the ES-335 he posted has "dog ear" P90s (has mounting ears). They are some of my favorite pickups... The SG and LP (regular or double cut away) juniors with just a P90 in the bridge are magic to my ears. A little thinner and edgier than humbuckers

Here is Keith Urban playing a double cut LP junior through his Hiwatt/WEM (David Gilmour's preferred rig forever) stack
'Kiss a Girl Sessions' Video Keith Urban AOL Music - YouTube

and a live performance of "Cold Ground" by Rusty Truck with single P90 bridge pickup in a custom made Tele clone (green guitar) that is one of my all time favorite lead tones
Rusty Truck - Cold Ground - Live - YouTube

Good sounds. What I get from the Pearlies in the bridge position are reminscent of those clear, yet growly, Tele sounds. If I switch to overdrive, I get EVH and Warren Haynes tones. I love that ability to go from crystal clear to funky just by overdriving my tube output. I don't even use my Tube Screamer footpedal anymore. It's not needed with the Peavey Vypyr Tube 60. Well, that's not entirely true. The Tube 60 has a built-in TS patch that I use to put an edge on the overdrive sound, but i'm running pre-gain on that channel wide open and just using the TS for an edge.

Check out this series where Mattias Arp demos the Peavey Vypyr amp series with the Sanpera II foot controller. There's just about limitless range in the sounds you can conjure up with this amp.

 
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James Hart

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I'm a fan of what DSPs and modeling can do (been using a Johnson J-Station for almost a decade). I've been considering picking up a Line6 M9 to replace all the analog effects I've recently got rid of...

BUT I'm digging single coil bridge pickup -> Orange Squeezer compressor & slapback analog delay -> cranked (just to the point of power tube saturation) tube amp. I love the feel and tone as well as the rawness of it.

One of my next projects is building a clone of the Fender external spring reverb & vibrato in the same box.
 

DaveP

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I'm a fan of what DSPs and modeling can do (been using a Johnson J-Station for almost a decade). I've been considering picking up a Line6 M9 to replace all the analog effects I've recently got rid of...

BUT I'm digging single coil bridge pickup -> Orange Squeezer compressor & slapback analog delay -> cranked (just to the point of power tube saturation) tube amp. I love the feel and tone as well as the rawness of it.

One of my next projects is building a clone of the Fender external spring reverb & vibrato in the same box.

I used solid state amps for a long time ... a couple of decades. Before the Vypyr, my last tube amp was a Harmony 15 watter with a 12 inch speaker! That was early high school. I was a big stomp box fan, at least for the ones I wanted. I had a Flanger, Chorus, Tube Screamer, and a tuner on the floor. I played a Peavey Musician 4x12 for over a decade with stomp boxes. Now, with the Vypyr it's all built into the amp and all the effects are quality sounds. The Sanpera II foot controller is programmable and gives me what I need outboard of the amp. It controls the amp through 8 pin MIDI. Volume is on the left and Wah-Wah is on the right. The 4 switches on the bottom right are programmable to patches in the amp and the bank switch lets you put 255 patches on the 4 switches. I use one bank with 4 presets most of the time!

On the top right is a looper that lets you play 30 seconds of chords or whatever and play them back over and over to jam with yourself.

Sanpera2-xlarge.jpg


I chose the Tube 60 after spending hours in a music store comparing. There was no contest between the Tube 60 and all the other amps, including modelers that I tested. Of course, that's personal preference but I haven't looked back yet.

I yanked the 12AX7 and the 6L6's out of mine and replaced them with Tung Sol KT-66's and a Tung Sol 12AX7 and that made a noticeable difference in tone and punch. There's a noticeable difference in the tightness of the low end and really good detail in the midrange. Highs and clarity in the top end are probably close and both give you that transparent feel and presence. It's almost like the wood tone in the guitar is piped right through to the output unchanged in a clean patch.

I played a 79 Strat for many years and I love the tone of the bridge-middle position 2 setting. Hendrix tones are easy to get with a Strat, naturally. Once I started to play a Les Paul, I began to get back in touch with the Duane Allman/Warren Haynes/Dickie Betts tone.

You can't beat a Strat neck for playing ease, though. It's just effortless.
 
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DaveP

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The Allman Brothers in 1970. Those guys knew how to craft solos and build them into harmonic duals. They'd take it down and build it up and take it down again. They played clean with just a touch of overdrive and still managed to insert loads of feeling and tone into their licks. They played the crowd like magicians and always played overtime, still leaving the crowd wanting more. Their sound is the ultimate in simplicity coupled with genius, IMO. Coltrane is all over the licks they play. They took the genre into new territory.

 

sandybeach

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The Allman Brothers in 1970. Those guys knew how to craft solos and build them into harmonic duals. They'd take it down and build it up and take it down again. They played clean with just a touch of overdrive and still managed to insert loads of feeling and tone into their licks. They played the crowd like magicians and always played overtime, still leaving the crowd wanting more. Their sound is the ultimate in simplicity coupled with genius, IMO. Coltrane is all over the licks they play. They took the genre into new territory.



They did! The boys were just amazing. I loved that white boy blues sound. And when are those long jams going to come back in style, hmm?
 

sandybeach

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The Allman Brothers in 1970. Those guys knew how to craft solos and build them into harmonic duals. They'd take it down and build it up and take it down again. They played clean with just a touch of overdrive and still managed to insert loads of feeling and tone into their licks. They played the crowd like magicians and always played overtime, still leaving the crowd wanting more. Their sound is the ultimate in simplicity coupled with genius, IMO. Coltrane is all over the licks they play. They took the genre into new territory.



They did! The boys were just amazing. I loved that white boy blues sound. A few minutes in -- I hear that classic trick that I use. If I make a mistake or play something that sounds bad, just repeat it a second time, then people think you played it on purpose.
 

DaveP

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They did! The boys were just amazing. I loved that white boy blues sound. A few minutes in -- I hear that classic trick that I use. If I make a mistake or play something that sounds bad, just repeat it a second time, then people think you played it on purpose.

If you hit a wrong note, you have two choices. Hit it again and call it jazz or slide one up or down to get back into the scale and turn it into a glissando. Never admit that it wasn't what you intended to do! Do it again later to prove you meant to do it. I think some of the worlds funkiest licks could have started with a flub-up.

I watched those guys in an empty room setting a few times. I've told this story before, but they played for a short time at a club in Macon where our band was house band for the summer in '69. We shared a stage and equipment several nights in that short run. They were like nothing we ever heard before. That was in 1969 and we had no idea who they were, where they came from, or where they were going. We just knew that they were recording for Phil Walden at Capricorn Studios a couple of blocks away from the club and needed a place to practice and perfect their show. The club owner agreed to let them practice weeknights if they agreed to play one Saturday night a month for free. Our agreement was to be house band, but have one weekend free per month to play outside gigs.

Two friends who were brothers had been hanging out with us and doing freebie roady work for us. They signed on to the ABB tour as paid roadies through that exposure and went on a wild ride.
 
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sandybeach

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If you hit a wrong note, you have two choices. Hit it again and call it jazz or slide one up or down to get back into the scale and turn it into a glissando. Never admit that it wasn't what you intended to do! Do it again later to prove you meant to do it. I think some of the worlds funkiest licks could have started with a flub-up.

I watched those guys in an empty room setting a few times. I've told this story before, but they played for a short time at a club in Macon where our band was house band for the summer in '69. We shared a stage and equipment several nights in that short run. They were like nothing we ever heard before. That was in 1969 and we had no idea who they were, where they came from, or where they were going. We just knew that they were recording for Phil Walden at Capricorn Studios a couple of blocks away from the club and needed a place to practice and perfect their show. The club owner agreed to let them practice weeknights if they agreed to play one Saturday night a month for free. Our agreement was to be house band, but have one weekend free per month to play outside gigs.

Two friends who were brothers had been hanging out with us and doing freebie roady work for us. They signed on to the ABB tour as paid roadies through that exposure and went on a wild ride.

If it was me, I think my mouth would have been hanging open for the entire 1969. You must have been completely blown away by them.
 

bassnut

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I've told this story before (I never get tired of it - bassnut), but they played for a short time at a club in Macon where our band was house band for the summer in '69. We shared a stage and equipment several nights in that short run. They were like nothing we ever heard before. That was in 1969 and we had no idea who they were, where they came from, or where they were going. We just knew that they were recording for Phil Walden at Capricorn Studios a couple of blocks away from the club and needed a place to practice and perfect their show. .

I never get tired of that story Dave. It's precious and unique.
Well...they didn't come out of a vacuum exactly but not as they appeared when you first saw them for sure:



.
 
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DaveP

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I never get tired of that story Dave. It's precious and unique.
Well...they didn't come out of a vacuum exactly but not as they appeared when you first saw them for sure:
.

They had been around the block for quite a few years before we met them. We just weren't in the circles, being in Macon. Macon was the place where you saw Wilson Pickett, Otis Redding, and the Motown types. Later came the Southern Rock era. All those guys were in and out of Bibb Music Center, which was right down the street from Capricorn's office. The club we were playing shared a back parking lot with Bibb Music. You could walk out the door of one, cross a parking lot, and go in the back door of the other.

I think the first impression was the greatest. They drove up in two delivery trucks that looked like bread trucks and started unloading equipment up a fire escape in the back, behind the stage. After they unloaded the first truck, the dance floor was packed and one of the roadies said, "I guess we don't need to unload the other truck, do we?". We just looked at each other and grinned. I guess the other truck had the rest of the sound reinforcement equipment.

We had Fender Bandmasters and a Bassman and a couple of column speakers with a small PA head, a set of Ludwig drums, and a Farfisa organ with a small amp. They brought in a music store with a long row of double stack Marshalls, two sets of drums, a B3 organ and two 145 Leslies, huge triple stack PA cabs and rack mount amplifiers for micing the instrument cabs, a big mixing board with a snake, and a sound guy. Twiggs Lyndon was walking around making suggestions in between going back and forth to the phone back in the bar area. We were slack jawed just ogling the equipment and all the goings on with the roadies setting everything up.

Our summer '69 club gig turned into a semi-permanent gig that went into the first half of 1970. They came and went on tour and used the place to practice when they were in town. They stored a bunch of equipment in a storage room and came in and out to get what they needed for gigs. They later found a warehouse somewhere and used that as a home base for rehearsals and equipment storage. I remember when they announced in January 1970 that they were headed to New York to play some gigs. We didn't know it, but in February 1970 they would play the legendary Fillmore East gig that resulted in the live album. They were in and out of the club and the roadies came in one day to pick up some equipment and told us that Twiggs was arrested for stabbing a club owner.

April 30 1970, Twiggs Lyndon, the road manager for the Allman Brothers Band, was arrested for murder after he stabbed a club manager during an argument over a contract.

These stories were all considered true locally and some appeared in our local newspaper. Scooter Herring worked at a local garage/gas station about 3 blocks from my parent's home. He pumped gas and did tune-ups, installed racing parts that people bought and brought to him. It was right next door to a restaurant where Little Richard worked. Little Richard bussed tables and swept up, singing as he worked. That restaurant is where he was discovered.
The Allman Brothers Band Funny Trivia
 
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sandybeach

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Boys, I have a question for you. I can't find this anywhere online. Anyone remember the trio or quartet that recorded a killer acapella version of the Star Spangled Banner? I think it was three popular country singers. Maybe five years ago? It gave me chills, and I would love to find it again. Do you know who it was?
 
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