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Post by Admin on Sept 29, 2013 16:14:37 GMT -5
In the thread about Rockabilly, we discussed early Rockabilly artists - Carl Perkins, Luther Perkins, Chuck Berry, and even though I didn't discuss Scotty Moore, he was obviously one of the first great "ROCK AND ROLL" guitar players.
So, just which guitar and amp do you consider to be the "signature" rock and roll guitar?
Carl Perkins: Carl Perkins played a ‘52/’53 Gibson Les Paul Gold Top with two P-90 Pickups and a "trapeze" tailpiece through a small Fender Amp when he recorded “Honey Don’t” with "The Perkins Brothers Band" (Carl Perkins + his two brothers on upright bass (Clayton) and rhythm guitar (Jay) + W.S.Holland on drums).
In early '56, after the massive success of "Blue Suede Shoes", Carl Perkins purchased an $800 blonde Gibson ES-5 maple-top with three P-90 pickups with separate tone and volume controls for each. He also got himself one of the hand built EchoSonic amps from Ray Butts out of Cairo, Illinois for $250 down and $250 on delivery
Luther Perkins: Played a Esquire (Telecaster) through an old Fender amp. He later traded the Esquire for a 54 Tele.
Scotty Moore: Scotty played a Fender Esquire, A Gibson ES235 and a Gibson L-5 (His Favorite). He also played through an old Fender Tweed and later on the Echo-sonic.
Chuck Berry in the early years played a Gibson ES-5.
Anyone add to this???
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Post by Pistol Pete on Sept 30, 2013 4:24:55 GMT -5
I tend to associate Strats with early Rock and Roll - I guess because of Buddy Holly and (this side of the pond) Hank Marvin.
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Post by Admin on Sept 30, 2013 7:26:29 GMT -5
I tend to associate Strats with early Rock and Roll - I guess because of Buddy Holly and (this side of the pond) Hank Marvin. Yeah Pete, the Strat from Fender and the SG from Gibson were definitely THE guitars for the Rock and Rollers of the 60's. Except the SG's Peter Townshend broke into pieces smiley-laughing024 And the old Blackface amps from Fender and of course the Marshall amps just seemed to compliment those with just the right grit and soul.
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Post by Admin on Sept 30, 2013 11:36:32 GMT -5
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Post by earleg on Sept 30, 2013 21:59:27 GMT -5
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Post by earleg on Sept 30, 2013 22:26:55 GMT -5
For early R&R would have to go with the late '50s Fender Tweed 4x10 Bassman. It was a do all live or studio amp be it for guitar, bass, PA and even other instruments.
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Post by Admin on Sept 30, 2013 22:36:43 GMT -5
If you've listened to the early stuff, you know you have heard a lot of echo. Chet Atkins even used the hallways to get the effect. When Ray Butts came up with the echosonic amp, it pretty much became the go to amp for live pervormances.
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Post by Admin on Sept 30, 2013 22:54:21 GMT -5
One last thought - don't forget about the old flat top Martin or Gibson with a Dearmond pickup mounted in the soundhole. Plugged into a Fender Tweed, there has been many rock and roll performances done.
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Post by earleg on Sept 30, 2013 22:54:41 GMT -5
In the old Sunn Studio they put a microphone down in a large drain pipe and somehow? resent the sound back. That is what I was shown by the guide at the old Sunn Studio museum. They did also use a second tape deck to create an echo.
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Post by Admin on Oct 1, 2013 8:22:20 GMT -5
In the old Sunn Studio they put a microphone down in a large drain pipe and somehow? resent the sound back. That is what I was shown by the guide at the old Sunn Studio museum. They did also use a second tape deck to create an echo. Yes George, there were a lot of tricks used by record producers in the early days. Echo Chambers were extremely expensive to build, took up enormous space so every studio was trying to find a magic way of creating the "echo" sound. It needed the delay and also the right reverberation. Remember the first RCA studio down on McGavock? The engineers set up a speaker down at the end of a long hall with a microphone at the other - the recording was live. Sam Phillips used two recording heads, playing one with a delay during the actual editing session, creating the slapback echo after the fact.
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Post by dadfad on Oct 1, 2013 10:49:18 GMT -5
In the old Sunn Studio they put a microphone down in a large drain pipe and somehow? resent the sound back. That is what I was shown by the guide at the old Sunn Studio museum. They did also use a second tape deck to create an echo. Yes George, there were a lot of tricks used by record producers in the early days. Echo Chambers were extremely expensive to build, took up enormous space so every studio was trying to find a magic way of creating the "echo" sound. It needed the delay and also the right reverberation. Remember the first RCA studio down on McGavock? The engineers set up a speaker down at the end of a long hall with a microphone at the other - the recording was live. Sam Phillips used two recording heads, playing one with a delay during the actual editing session, creating the slapback echo after the fact. I have an old 1959 Echo-Plex Maestro. It works with a figure-8 loop-tape cassette. It has adjustable record/play heads for echo/slapback delay control. I've rarely used it. It sounds better than the "modern-stuff" but more difficult to work with. (And if you wanna get "all experimental" you can set that delay really wide and actually play leads against your own delayed rhythm track! smiley-laughing024 )
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Post by Admin on Oct 1, 2013 10:55:47 GMT -5
That Echo plex must be a real collector's item John. Have you had it appraised?
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Post by dadfad on Oct 1, 2013 11:54:28 GMT -5
That Echo plex must be a real collector's item John. Have you had it appraised? No I haven't, Jim. I figure it might be worth five-hundred or so maybe, not that valuable. It's not something with all that much of a demand, with all the relatively cheap electronic and digital stuff available now to do a similar thing. I've got two loop-cassettes for it, but someone told me there's a company around that's started making the tapes again. (Probably for old coots like us who'd rather use "the real deal!") smiley-laughing024
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Post by earleg on Oct 1, 2013 20:47:35 GMT -5
I recorded some tracks in the '80s in an old house turned studio on 17th ave Music Row and we put their studio early Marshall 2x12 combo in a tiled bathroom. Got sort of reverb/slight echo effect. Tiled baths seemed to be popular for vocals also for years before.
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Post by Admin on Oct 1, 2013 21:14:52 GMT -5
We all sound better in the shower
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