#16
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#17
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Quote:
I'll call Malcolm's 6137 Project-o-Sonic stereo White Falcon a mid/late '61, just before they went over to the double-cut body - slightly shallower than Neil Young's well-known similar '61 (and significantly more so than bandmate Stephen Stills' mono '58), and with the original "Cadillac" tailpiece and gold-sparkle f-hole binding (they started having binding issues in very late '61 that carried through into early '63, and used straight black/white at that time). FYI a valuable voice in any electric player's arsenal regardless of style and, if you prefer American-voiced amps/speakers for your incursions into heavier territory, a Gretsch will give you a focused upper-midrange snarl that gives your leads note-to note definition, without the metallic glassiness of a Fender or the skull-splitting mids of a P-90 - while I'm not primarily a hard-rock player, I do go back and forth between my 3-PU 5622 and the P-90 goldtop LP Tribute that's a kissin' cousin to your own when I tap into some early '70s stuff...
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