RE: [Harp-L] (no subject)

["Rick Dempster" <rick.dempster@xxxxxxxxxxx>]

Now that's a live music story, but for a lot of us, the sound we think
of comes from records, and that introduces another factor: the recording
engineer.
RD

>>> chicago bluesman <chicagobluesman@xxxxxxxxxxx> 12/09/2008 15:00
>>>
I read lots of stuff on this site--which is a terrific, informative and
inspiring source of information--often about the Chicago sound--and I
rarely comment on what I read.  But....I guess I'm moved to share a
simple thought, not a new or novel idea, but simply a reiteration of the
obvious.

The tone comes from the player, not the equipment.

Now....having said that, let me say that I'm no different from so many
contributors here: I now own 4 amps, one of which (a newly purchased
used Meteor) is in the shop and I have high hopes of how it will
eventually sound.  I've recently acquired a Lone Wolf delay box as well
as a Kinder AFB+ box and, honestly, the jury is still out in my mind as
to whether either are particularly useful.   I also have a harp case
full of various brands of harps--all of this is in search of the perfect
tone.  So....I'm making my humble efforts to achieve the tone I'm
looking for, just like everybody else.

But.....I wonder about all of this effort.  I moved to Chicago right
out of college, in 1979 and at that time it was easy to go to Cubs games
and equally easy to hear the architects of the Chicago blues sound on
any night of the week.  Too bad I was too broke at the time to take full
advantage of the situation but....I did pretty well.  For a period of
about two years I tried to hear Big Walter on every Sunday & Monday
night--he had a standing gig, sometimes accompanied by Sunnyland Slim or
Eddie Taylor, among others.  I didn't make it to the club every Sunday &
Monday but I sure tried, right up until the time of Walter's death at
the end of 1981.  Geez.....one night he handed his mic to me and let me
sit in with Floyd Jones and the band....I'm surprised to this day I
didn't depart this earth upon handing the Astatic back to him, my
mission on earth fulfilled.  But that's another story.  Anyway, Walter
played through a silverface Princeton--probably an early or mid-70's
model, and used a simple stock JT-30.  He had a switchcraft volume
control, also, which I think was his way of coping with feedback.  That
was it.  In my mind, Walter's playing on a night-by-night basis sort of
followed the rule of thirds: a third of the time he was too drunk to
play much, a third of the time he was too ornery, unmotivated or
distinterested, and a third of the time he was absolutely brilliant and
breath taking.  I know other people who were part of the scene back then
and perhaps they have a different recollection but...that's how I
remember it.  However, everything he did, good or not-so-good, came from
him, not his equipment.  He'd show up with his amp and a few Marine
Bands and.....that was it.  

So, sure....the Chicago sound came from simple equipment adapted for
use to amplify harmonica.  But, really it's a language or, perhaps, a
specific dialect of the broader blues language.  And....we tend to get
hung up on the mechanics when the real point is to express interesting
ideas--one can be fluent in a spoken language but still lack original or
inspiring things to say.  When I listen to the greats of the Chicago
blues I am always impressed by the player's simplicity and musical
bluntness--for me, I'm always trying to free myself up to permit
expression of simple, blunt, clever and correct musical ideas without
being overly concerned with gizmo's.  It's a struggle....but it's worth
the effort.

Just a few random thoughts....

John



> From: dmax@xxxxxxx 
> To: Harp-L@xxxxxxxxxx 
> Date: Thu, 11 Sep 2008 22:37:03 -0500
> CC: 
> Subject: [Harp-L] (no subject)
> 
> A sound came out of the electric Chicago blues era - dirty,
distorted,  
> crunchy. It was mostly due to harmonica players using cheap equipment
- not a  lot 
> of disposable income in those days. It had emotional impact, was
recorded  and 
> has become the benchmark sound for this style.
>  
> In a quest for this tone in the 21st Century, amps are designed to
recreate  
> the cheap equipment sound - the way of the world, however, instead of
cheap 
> amps  creating that cheap distorted sound, expensive amps are built
to recreate 
> that  cheap distorted sound. Since music is performed at such a LOUD
volume 
> these  days, a lot of expense is put into designing that cheap amp
sound that 
> can  compete with those lunatic guitar players and their volume.
>  
> I think we should all play a lot quieter and use cheap amps -
everyone  saves 
> money (except boutique amp companies) and everyone saves their 
hearing.
>  
> The Iceman
> 
> 
> 
> I find this to to be humorous. Tone is where you find it. I don't
need an amp to make my tone or my ideas, which I feel many derive by
technical means. If you are good, you are good. An amp or mic will help
to achive a certain sound that you either wish to replicate. After that
it is up to you.
> 
> I have many older amps and new ones, but it has never made me a
(better) player. That is always in the mind and soul. It may enhance or
as I like to say   (elaborate the condition).
> 
> Quieter, yes. Soulful....well, thats how you may play.   That is the
mainstay of my life.   Check it out.
> 
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