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Will,
I'm thinking of putting together a 807 tube amp, and you are absolutely THE guy to ask about it. It seems to me that Chet's Standel was not copied and put into production by Gretch. That was someone else's custom amp, and his name escapes me at the moment.

I have an old Hammond EL-84 chassis which they used for the reverb (it did not return, but fed it's own speaker), and am wondering how difficult it would be to modify. Any ideas?

best,
Bobby

Chris,

I saw some 10k or 14k gold guitar picks somewhere a while back for around $200 or so. Wouldn't take one to a bar gig... :)

Cheers,
JV

Juan Vega

Interesting question. I'd have to say I solo & do some comping w/ the
pick, but I tend to switch to fingers for comping, so I guess 50/50, or
slightly more towards fingers. I've also been playing more classical lately, so
that leans me towards fingers more.

Cheers,
JV

Juan Vega

On 10/20/2010 1:09 PM, Chris Smart wrote:

What's the record for most expensive guitar pick?

I'll sell you one of mine for $1k....

Bobby

Are the picks from Red Bear the most expensive on the market?

What's the record for most expensive guitar pick?

Just curious.

Chris

Another pick that I like and tend to use on my Gibson Martino are heavy
Cool jazz picks. They are shaped like Jazz IIIs but are slightly larger
and made of juratex. They have an abrasive where you hold the pick to
help with the grip. No click, no drag and no flex. So I don't use them
for funk gigs.
Scott

I also like to use a hole puncher for picks that

don't have a grip.
Jim

____________________________________________________________
DEAL OF THE YEAR: 2010 Honda Civic for $1,734.09
SPECIAL REPORT: High ticket items are being auctioned for an incredible 90% off!

I don't think I've ever heard these come up on the list, but the D'andrea
Pro Plec is my jazz pick of choice:



These are very quiet, dense picks. I've never used tortoise, but I imagine
this is what they feel/sound like.

Blake

--
Regards,

Blake Wilson



[Non-text portions of this message have been removed]

Picks are a very personal choice. You may be using the same pick for years and
then suddenly come across another one that produces a different sound.

My advice is to try every kind of pick you can find -- you will finally find the
one you like for the desired sound you want ....


John Amato
Isaiah 55:11

Hi Jim,

Sarcastic, facetious, whatever your words were intended to be, they don't represent my feelings or intentions and i was obligated to say so.

And say so you did.

Look, Jim, it's not now,nor has it ever been, my intent to offend you. By way of explanation, and not apology (which I feel would be unwarranted), I'll tell you how I feel.

I honestly do not know what your idea of the music business is. From your posts in the past, I've gotten the impression that you feel that unless a musician is giving away all that he is for free, he is not somehow "spiritually minded", or something like that. As you found my sarcasm offensive, I find this so also.

True spirituality to me is that of humbleness toward God and toward fellow man. It means taking care of one's loved ones and family, and striving for fairness to all. And it involves giving.

But true giving is not something which is measured by a price tag or lack thereof. It means caring on a deeply personal level, and giving of self. I involve myself very dearly with helping those I love and those I feel I can help. On a professional level, I have probably taken on more students over the years who had no funds for free than any teacher in my area. I spend hours and hours of unscheduled time with all my students. This to me is representative of true spirituality - that which God gave to me I try to give back to His.

I share my arrangements of tunes with students, and am perfectly within the law to do so. I share my recordings with my most special of friends, and am still perfectly within the law to do so. These issues were resolved in the courts long ago.with the advent of Xerox machines, cassette tape recorders, and VCRs.

But I do not publish my transcriptions and arrangements over the Internet (and "publish" is the correct word for this type of mass distribution). When I do send someone a digital file by email, it is ALWAYS with the disclaimer that it is for their own personal use, and is not to be distributed over the Internet or passed on to anyone without my express consent, and, realizing how hard that is to enforce, I never send anything to anyone whose word to that effect I don't feel I can trust.

I do not publish files of myself playing materials of others on the Internet. That is not giving, it is stealing, and potentially taking away from profits they may have otherwise enjoyed. During the course of this thread, some have asked as to how much of a dent in their sales it would make and how it would do so. Well, I don't know, and neither do they - so I just don't do it, period. After all, people find every way imaginable to justify what it is they do.

I do not publish files of myself playing my own materials on the Internet because the courts have determined that once an artist does so, any copyright is null and void. In short, I don't steal from others, and I try to not let others steal from me. That may not be "spiritual" enough for you, but it is the reality of life.

If I am guilty of anything, it is of over-zealously desiring the success of my fellow musicians (my fellow professional musicians and students). I help them all I can. When I hire them, I always treat them fairly. And in discussions such as this, I always defend them vigorously.

I am not concerned with amateurs who take gigs for either free or "10-cents". Their egos are their own reward. I concern myself with the true artists out there who, like myself, take enormous risks with their lives to really try to do it right.

I've seen way too many of these wonderful people suffer the consequences of having been ripped off all too often. When they end up in the hospital without medical insurance, it is never those who have ripped-off their materials and uploaded them on the Internet who come to their rescue - so much for "the givers"; cest la vie. Twice in my own life I found myself hospitalized and within moments of death. Once with a blood clot in the lung, and once with pneumonia which had me on full respiratory life support for 5 days. Ask yourself if you think that doctors came in and offered me free medical treatment just for the sake of preserving my life - and, btw, nothing is more sacred than the preservation of life.

Are any of my words going to change what is happening on the Internet? Absolutely not, but they may help encourage someone out there who is getting his butt kicked royally by theft and uploads. I will say this, though - To all the "givers" who want to take the materials of others and publish their versions on the Internet, nothing is stopping you from setting up your own site for doing so, and from contacting the Harry Fox Agency to assure that you pay proper licensing fees for the privilege. I'm not holding my breath, but if you do this, then I will call you a "giver".

best,
Bobby

I don't have a favorite pick. I love the various Dugain: ebony, for example picks, but i also like Jazz 3's. Herco Flex 50 nylon picks work. The thing is picks have a sound and a feel. It is good to have a wide variety of picks for different sounds. It is easy to say that heavy picks and strings make the best sound. This is not practical for every situation. With all variety of picks and sounds available it doesn't make sense to me to stick with just one. I do most often like picks to come to a precise point so I use light sandpaper and play with shapes. I also like to use a hole puncher for picks that don't have a grip.
Jim

I'm not a frequent poster here, but I do read many of the posts when I have
time... This point has been mentioned by a few folks, but I wanted to share my
thoughts.? This is why I have no sympathy for the record companies going under.?
?
I grew up in the 80's playing in bands where everything (promotion, recording,
making t-shirts, booking gigs, lugging equipment) was done by the band
themselves - and we liked it that way.? We?held a certain disdain for the record
industry in general - the major labels had no interest in trying to market our
type of original hardcore punk music (this was of course, before bands like
Nirvana and Green Day made the genre more?mainstream/commercially viable).? If
bands survived, it was because they did it on their own, with no
financial/corporate backing.? Many bands faded away into obscurity.? Others
found different creative outlets (I had been studying for years with a jazz
guitarist, so the switch over to jazz seemed natural).?

?
I am all for musicians being compensated properly and having their artistic
works protected.? I am just not sure of the way that will happen.? I have
absolutley no faith that the record companies will be able or willing to do it.?
?
Here is an?inside view of how the record companies treat their artists - if you
have not seen the numbers?before, it is an eye opener.? Here is a typical
"record deal":
?
Advance: $ 250,000
Manager's cut: $ 37,500
Legal fees: $ 10,000
Recording Budget: $ 150,000
Producer's advance: $ 50,000
Studio fee: $ 52,500
Drum Amp, Mic and Phase "Doctors": $ 3,000
Recording tape: $ 8,000
Equipment rental: $ 5,000
Cartage and Transportation: $ 5,000
Lodgings while in studio: $ 10,000
Catering: $ 3,000
Mastering: $ 10,000
Tape copies, reference CDs, shipping tapes, misc. expenses: $ 2,000
Video budget: $ 30,000
Cameras: $ 8,000
Crew: $ 5,000
Processing and transfers: $ 3,000
Off-line: $ 2,000
On-line editing: $ 3,000
Catering: $ 1,000
Stage and construction: $ 3,000
Copies, couriers, transportation: $ 2,000
Director's fee: $ 3,000
Album Artwork: $ 5,000
Promotional photo shoot and duplication: $ 2,000
Band fund: $ 15,000
New fancy professional drum kit: $ 5,000
New fancy professional guitars [2]: $ 3,000
New fancy professional guitar amp rigs [2]: $ 4,000
New fancy potato-shaped bass guitar: $ 1,000
New fancy rack of lights bass amp: $ 1,000
Rehearsal space rental: $ 500
Big blowout party for their friends: $ 500
Tour expense [5 weeks]: $ 50,875
Bus: $ 25,000
Crew [3]: $ 7,500
Food and per diems: $ 7,875
Fuel: $ 3,000
Consumable supplies: $ 3,500
Wardrobe: $ 1,000
Promotion: $ 3,000
Tour gross income: $ 50,000
Agent's cut: $ 7,500
Manager's cut: $ 7,500
Merchandising advance: $ 20,000
Manager's cut: $ 3,000
Lawyer's fee: $ 1,000
Publishing advance: $ 20,000
Manager's cut: $ 3,000
Lawyer's fee: $ 1,000
Record sales: 250,000 @ $12 =
$3,000,000
Gross retail revenue Royalty: [13% of 90% of retail]:
$ 351,000
Less advance: $ 250,000
Producer's points: [3% less $50,000 advance]:
$ 40,000
Promotional budget: $ 25,000
Recoupable buyout from previous label: $ 50,000
Net royalty: $ -14,000

________________________________
Record company income:


Record wholesale price: $6.50 x 250,000 =
$1,625,000 gross income
Artist Royalties: $ 351,000
Deficit from royalties: $ 14,000
Manufacturing, packaging and distribution: @ $2.20 per record: $ 550,000
Gross profit: $ 7l0,000

________________________________
The Balance Sheet: This is how much each player got paid at the end of the game.



Record company: $ 710,000
Producer: $ 90,000
Manager: $ 51,000
Studio: $ 52,500
Previous label: $ 50,000
Agent: $ 7,500
Lawyer: $ 12,000
Band member net income each: $ 4,031.25
The band is now 1/4 of the way through its contract, has made the music industry
more than 3 million dollars richer, but is in the hole $14,000 on royalties. The
band members have each earned about 1/3 as much as they would working at a 7-11,
but they got to ride in a tour bus for a month. The next album will be about the
same, except that the record company will insist they spend more time and money
on it. Since the previous one never "recouped," the band will have no leverage,
and will oblige. The next tour will be about the same, except the merchandising
advance will have already been paid, and the band, strangely enough, won't have
earned any royalties from their T-shirts yet.
?
You can read the whole article here:

?
Vince




[Non-text portions of this message have been removed]

About 4 or 5 years ago, I discovered Dunlop stubbies - the little ones for me, but there is also a larger size. I use the purple 3mm ones and they made a *huge* difference in my tone. I can't even think of using a pick with any flexibility in it any more.

A couple of years ago a fellow on this list (Naim Somebody, maybe?) was making some wooden picks and asked some folks to try them out. I got three of them - all different woods. One of them was great, nice attack and buttery sound, but, of course, I lost it. The other two were pretty good, too, but not like the first one. If I were at home I could provide more details but, alas, I'm not...

- Rick

Elliot

I played for many years in a successful "covers" band (rock, blues and pop)
and we were expected to reproduce, to an acceptable standard the sound of
the original song / tune. I had several different guitars on stage to
accommodate the diversity of the bands we covered, these included 2 Strats
(strung with different weight strings), a Tele, a Les Paul, a 335, an
acoustic Martin with a Mimesis pickup across the sound hole and a 12 string
Takamine with its own on board pre-amp and transducer under the saddle and
quite a diverse range of plectrums, I put all of these guitars through a
midi controlled Roland pre-amp emulator into a Fender Twin.

My rational was that most commercially successful guitarists have a fairly
"unique" sound, this being a mix of guitar/amp/technique, not to mention
signature licks, but I also found by research and discussion that nearly all
of them had a favourite plectrum that they used to give them the sound they
required and some, like Knopfler preferred to play finger style, IMHO you
cannot cover a Dire Straits number successfully with a pick, you just cannot
get the metre and tone of the tune right.

I now play jazz guitar (not as well as I would like but I am still actively
learning) with 2 very different bands, one is an 8 piece which plays a mix
of trad and popular music and the other is a 5 piece playing more mainstream
plus material from "the Great American Song Book". I use the same amp for
both bands which is a re-issue Fender Blues De-Luxe, which I have modified
by changing the speaker and the valves to give the tone that I require, but
I use different guitars for each band (335 for the 8 piece and Eastman full
bodied archtop for the 5 piece).

With the 5 piece I use 2 different plectrums depending on the feel of the
tune, both are Jim Dunlop Nylon picks, one is a .60mm and the other a 1mm,
they each have a different feel on the strings and give a totally different
sound, the lighter one giving a "snap" and brightness to the note and the
heaver one a "roundness" and richness to the note; using these picks I would
also completely agree with jpaul00 that you do need to lightly sand the edge
of these picks first to ensure they are smooth, and please do experiment
with pick angle, pressure, etc as he suggests, all of these make
considerable differences.

There is no doubt that a change of pickups, string weight, etc will affect
the sound considerably but so will the plectrum, and an experimentation with
a few different types will only set you back a few dollars/pounds and is
totally reversible very easily.

Hope this helps to explain my thoughts better.

Best wishes and never give up the search for that "elusive tone" that we all
want - I certainly never will.

Roger

Wow - great story Scott - thanks for sharing that - and lovely collection of instruments you have there! Gotta get me a GB10 again methinks! GB came and played an outdoor gig in Southport in the Northwest UK (about 20 miles from Liverpool where I live) in approx 2004 and it was the first and only time i'd seen him live - amazing!

Cheers, Mark
________________________________
From: jazz_guitar@... [jazz_guitar@...] On Behalf Of Scott R Dercks [nearvana@...]
Sent: 20 October 2010 04:26
To: jazz_guitar@...
Subject: Re: [jazz_guitar] My first post: Benson legacy



Hi Mark, My GB10 is a '78 sunburst. I believe that is the first year
they made them. One of the cool things about mine is that when I played a
gig in Hawaii, George B came out and watched the band for a whole night.
I was playing my GB10 on the gig. At the end of the night George asked to
play my guitar. I have pictures of him playing it with me standing there
with a big grin on my face. We had a great hang after the show. I play my
GB10 more than GB200 but they are both nice guitars, especially for the
money.
I also have a PM20 (Metheny model) that was a prototype that Pat played
while they were designing them and a Gibson Martino that Pat Martino has
played. I never made a point of doing this, but it has just worked out
that way...
Peace,
Scott

On Tue, 19 Oct 2010 21:21:27 +0100 "Houghton, W" <wmh@...<mailto:wmh%40liverpool.ac.uk>>
writes:

Hi Scott. Many thanks for your reply! Aaagh I had a GB10NT back in
the 80's (bought new in 1983). I miss it so much and will probably
get another at some point. I'll never forget the day i received the
phone call from my local guitar shop saying my GB had arrived
(imported) and was ready to collect. A wonderful day!

Cheers, Mark

__________________________________________________________
Get Free Email with Video Mail & Video Chat!





[Non-text portions of this message have been removed]

Here is a link to an article that was in this past Monday's Philadelphia Inquirer that makes reference to Pat Martino's brain injury and others in similar situations. You'll see that it doesn't just focus on Pat, but I thought the list might be interested:

It probably won't be available for long, so if interested you may want to take a look sooner than later.

Rick

Alisdair wrote:

I agree with you. As you have read in ALL my previous post in the group you

will have seen I agree with you that suing >end-users is not the way
forward.



I apologize for mischaracterizing your position. I, no doubt, am mixing up
who I am arguing with.



I also apologize for misspelling your name previously.





All the best, John















Reciprocity

Hi Mark, My GB10 is a '78 sunburst. I believe that is the first year
they made them. One of the cool things about mine is that when I played a
gig in Hawaii, George B came out and watched the band for a whole night.
I was playing my GB10 on the gig. At the end of the night George asked to
play my guitar. I have pictures of him playing it with me standing there
with a big grin on my face. We had a great hang after the show. I play my
GB10 more than GB200 but they are both nice guitars, especially for the
money.
I also have a PM20 (Metheny model) that was a prototype that Pat played
while they were designing them and a Gibson Martino that Pat Martino has
played. I never made a point of doing this, but it has just worked out
that way...
Peace,
Scott

On Tue, 19 Oct 2010 21:21:27 +0100 "Houghton, W" <wmh@...>
writes:

Hi Scott. Many thanks for your reply! Aaagh I had a GB10NT back in
the 80's (bought new in 1983). I miss it so much and will probably
get another at some point. I'll never forget the day i received the
phone call from my local guitar shop saying my GB had arrived
(imported) and was ready to collect. A wonderful day!

Cheers, Mark

____________________________________________________________
Get Free Email with Video Mail & Video Chat!

In jazz_guitar@..., Bob Hansmann <bobbybmusic@...> wrote:
Hi Jim,
snip
I don't know who finds what funny or not, but I know that anyone who
took the phrase literally could only have done so intentionally.
Actually, the word which comes to my mind is "sad" - sad that the only problem some musicians have with this issue is the words someone parses to discuss it. The rest just isn't worthy of thought, apparently.
snip
Bobby, excuse me for "cherry picking" your email. This is a new term to me, but I understand it very well.
Bobby, words matter to me. Surely you know by now that i have been out here laboring in the vineyards for a long time. I am not bitter; I have no regrets, I am not possessed by envy. I am not consumed by the "music business." I have learned to take care of me and mine. I am disappointed, man. Sarcastic, facetious, whatever your words were intended to be, they don't represent my feelings or intentions and i was obligated to say so.
Jim

Interesting. I'm primarily self-taught, and the folks I studied with (by the time I started taking lessons) didn't try to influence my picking technique; I guess all the other stuff took precedence, lol. Flatwounds are designed to be somewhat less bright, that's why I like the D'Addario ribbon-wound strings. They have some of the brightness of conventional strings, but a darker sound w/o being muddy. I also like the way they feel, something not present w/ Thomastiks. Interestingly, my tech told me you really only have to replace the B & E strings on ribbon-wound sets, as the other strings don't wear out that much. I haven't tried that, but it's a thought; instinctively, I think the other strings would deteriorate somewhat from being pressed against the frets, but...

Cheers,
JV

Juan Vega

At 08:26 PM 10/19/2010, John Amato wrote:

For example, C E7 A7 D7 G7 C.

It's like gravity pulling back to the starting point.

It was so much more common in mid-20th century popular music. I've recently been working on a really pretty Willie Nelson/Hank Cochran tune called "I'll Stay Around" that uses it.