#16
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If I was playing an A-150 solo I'd probably go for a 5W tube amp. Something I could get a nice cranked-up clean sound from without deafening everyone. I have an Epiphone Valve Jr, but they've been long discontinued & I'm told the newer generation of small valve amps is better. I used an old 50s or 60s 1W Silvertone owned by the studio on my last album, which was pleasing filthy sounding.
Another option would be to run the signal into the PA via something like one of the Boss Fender Amp pedals or the direct out of a Pignose. That said, my current archtop for blues set up is a Gibson L-50 & an instrument mic.
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"I used to think I was an artist. Come to find out I'm a beer salesman" - James McMurtry Hear some footstomping acoustic blues at pistolpetewearn.co.uk! |
#17
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Quote:
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I only play technologically cutting edge instruments. Parker Flys and National Resonators |
#18
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You da man...
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"Mistaking silence for weakness and contempt for fear is the final, fatal error of a fool" - Sicilian proverb (paraphrased) |
#19
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You can cut down on feedback by orienting your rig so that your body is between the guitar and the amp (behind and to the right). Also, avoid being near the bass amp or subwoofer, or your archtop will howl.
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https://www.reverbnation.com/bootheelers |
#20
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Ummm...thanks....
I'm not entirely sure if that's sarcasm or not?
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"I used to think I was an artist. Come to find out I'm a beer salesman" - James McMurtry Hear some footstomping acoustic blues at pistolpetewearn.co.uk! |
#21
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What does NOT work well for blues is a modern piezo pickup system. That sound rubs me the wrong way anyway, but in the context of a traditional style of music (like blues), it's like nails on a chalkboard.
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https://www.reverbnation.com/bootheelers |
#22
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See my post (#3) above - unquestionably a compliment...
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"Mistaking silence for weakness and contempt for fear is the final, fatal error of a fool" - Sicilian proverb (paraphrased) |
#23
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"I used to think I was an artist. Come to find out I'm a beer salesman" - James McMurtry Hear some footstomping acoustic blues at pistolpetewearn.co.uk! |
#24
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If you have what Rev. Gary Davis called a sporting right hand it does not matter much what guitar you play or what amp you plug into. Then again, if you do not have that right hand I guess it also does not matter. Memphis Minnie did just fine with a National New Yorker and something akin to a GE amp. The sound was so distorted you could not hear the individual notes but according to Langston Hughes that beat pushed right through and got everyone up dancing.
I have two archtops in the house - a 1930s Kay Kraft round soundhole and an early 1950s Epiphone Triumph Regent. When I plug in I use Dearmond pickups and an early 1960s Standel tube amp with a 15" JBL in it. I play da bluz on these not because they are particularly well suited for this or that type of music but because I like the feel and the sound. Best thing about playing blues is no special gear needed.
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"You start off playing guitars to get girls & end up talking with middle-aged men about your fingernails" - Ed Gerhard |
#25
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Hmm.. there are many sounds and styles. There's a towering Marshall stack driven by a solid body. There's a crappy flat top under a pocket knife slide. And everything in between.
IMHO, if you're playing with a drummer and bass player, you don't play acoustic or with a mic. Unless you're a star and big draw, your sound, technique, and hassle factor will ensure they won't want to play with you for long. If you're playing solo there's the question of what style you're drawn to. Personally I can do without that scratchy old sound. It was a financial and technological constraint the artists lived with. Might be authentic, but that's not my demographic or taste. Given a choice, I want to sound like Wes Montgomery playing blues.. that's when I play a fixed humbucker archtop through a Rivera era Fender Concert with a EV speaker in it. Sometimes I just like the acoustic sound of my oval hole with a Sunrise through a Grace Felix / Schertler speaker. Tone is a very personal business when it comes to something as broad as 'blues'.
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Spook Southern Oregon |
#26
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As folks have said--and I'll agree--there's a lot of territory labeled blues and you can play blues on anything. I get the sense you are starting out, figuring it out. Do you have some artists whose sound you're aiming to get in the neighborhood of?
Since we don't know, and I guess it's possible you don't yet know, what sound you'll end up aiming for, I'd suggest a Fender Mustang III amp. It's loud enough, has a 12" speaker that can handle decent low end thump if that's your thing, has a nice direct out, and can do a good job of emulating a number of amps so you can explore your sound. If you hook it up to a computer there are a number of nice "blues" user presets available for download into the amp. If you try one out, skip to the highest numbered presets first where they have "plug straight in" non-effect loaded amp models. The Super Champ XD is a similar idea, but it's a lower volume amp (particularly if you want some clean volume) and doesn't have as much lower end thump if you are going to be thumbing the bass strings. I have a circa 2000 DeArmond X175 (big, deep archtop with modern humbuckers) and an old Harmony or Kay slimline archtop with the speedbump pickup. I string the DeArmond with TI flats and go for the '50s/early '60 jazz sound. I string the slimline with nickel electric guitar lights for a more Chicago/Maxwell Street vibe. You could probably go either way with the X150.
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----------------------------------- Creator of The Parlando Project Guitars: 20th Century Seagull S6-12, S6 Folk, Seagull M6; '00 Guild JF30-12, '01 Martin 00-15, '16 Martin 000-17, '07 Parkwood PW510, Epiphone Biscuit resonator, Merlin Dulcimer, and various electric guitars, basses.... |
#27
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Guild hollowbodies are great guitars and I'm sure yours will get the job done with a good setup with decent strings (10s or 11s -- something substantial but not piano wire). The amp is really a hindrance, even a decent solid state guitar amp will sound better than that Rumble for blues. I saw an old 80s-era Peavey Backstage Plus for $50 bucks in a store the other day and was tempted to get it, but I don't need it. It's a small amp with a 12" speaker and reverb plus the EQ and drive are designed for electric guitar. You could find something like that in a pawn shop or on Craig's List cheap. If you're playing solo or duo in a small room that's all the amp you'll need. Of course if you have the cash a vintage Vibro Champ would also be a cool amp for this. Your post sounds like you will not be playing with a drummer so you have a lot of flexibility in what you get amp-wise. A used Super Champ or Roland Cube would also work fine. Later you can upgrade to something fancier if you like.
Sounds like a fun idea, how's it going? |
#28
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archtop blues
[Hi 'K' and all you strummers and pluckers
I have a little experience in this matter that hopefully may help you., and so do many others I should say. During the 60's I played with Sonny boy Williamson, Long John Baldry, Joan Bias, Julie fleix and J. Hendrex. These are just names on a day and don't eally matter but what is important is how one had to play to 'make that mix' for a one off and if you got that wrong you were back on the hog farm!! At the time I had a 1952 Archtop that was dull. I had no idea why. I went to a music shop ( think about the date!!) and asked if my strings could/would make a difference to the tone of my guitar-- good question. YES THEY WILL/COULD/WOULD, so I changed the strings that were 20/30 yrears old and the best you will ever fit ( factory string s are the best) and the change was quite extraordinary. SO/SO WHAT. With the type os music you wish to play you must always be the 'undertone' because that's what you are. So you need to radically change the tone of your guitar. Here in Europe, guitarists generally do not like the Gibson because it has become a mark, but if you read comments on this site the quality has changed hugely, don't be sucked in. The 'key' about playing with a singer is PACE. You need to be one millie sec behind the singer to make it work. if you were here by the time you left you will have it. Remember the singer always starts. you follow as the last reath leaves the body. You can practice this. I would like to say to all the readers of this extraordinary site, always sing or hum the tune you are playing in that way you will find the pace --THE PACE if you need more help write to me on the site I could just be able to help Stephen |
#29
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Thanks for all the input folks. Somehow I think that no matter what gear/setup that I decide to use, I will sound like me singing and playing something that sounds like blues.
I have a "captive" audience, to experiment on, at a B&B in Vermont, in a few weeks. I will keep your ideas in mind as I plan this out. Thanks again |