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May 25, 2004

Re: Even a blind man can see where I'm coming from

Morning guys and gals. Took a turn to the south two days ago. After flying in to Denver to meet friends, we drove and fished our way north to Gardner, Montana, left by way of Yellowstone North East gate to Cody Wyoming. I'm in Santa Fe New Mexico now, will turn back east soon.

We caught fish but didn't eat any, great fun anyway.

Has anyone ever seen the video of Doc Watson working on a second story window from the outside of the house?

Later, Oldghm
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Oct 16, 2003

Re: Even a blind man can see where I'm coming from

Nice part of the country, GH. On our motoring move to Framingham (from Seattle), my family and I spent several days in and around Yellowstone, totally unprepared for the out-of-planet landscape. What a great place.

Please send a link to the video.

Also, I'll bet you have a great gruesome-gig story to add to the "worse gig ever". Ga hed.
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May 25, 2004

Re: Even a blind man can see where I'm coming from

Sorry Cliff, I don't have a link to the video. I remember it from a show on PBS a few years back. Doc is an amazing man.

I'm home now. What a trip. Over 5000 miles, about half on 2 lane scenic highways. It's my third year in a row to spend time fishing and hiking in and around Yellowstone. I don't think I will ever tire of it.

Oldghm
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May 25, 2004

Re: Even a blind man can see where I'm coming from

Hi All,

I revisited this venue last night. The regular played a party earlier in the day, but showed up anyway to pick with me for the first hour or so.

He played acoustic guitar through a nice amp, I played, of course, through the L1 with 4 B1s.

The drinks finally got to him and he decided he was no longer an asset so he put the guitar away and just walked the room. He suggested I turn up a little, which I did. I think it was probably the loudest I have ever been with the L1. Still no complaints. He just kept walking, listening, and grinning. As he was leaving he walked up beside me and said, "I got to have one of these".

I didn't leave the stage area the whole night, playing continuosly for 4 hours. When things are going good it's really not like work at all.

The Porchboard is becoming a normal part of my program now and I believe it sounds perfect with the addition of the PackLite system. Not totally neccessary to have 4 B1s, but worth the effort.

One of the manager / owners mentioned at the end of the night that I did more up tempo tunes than last time. My songlist doesn't change much so I am personally convinced that the Porchboard and the additional B1s, fool the audience because they feel the beat on some material they normally wouldn't notice.

Oldghm
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Apr 12, 2004

Re: Even a blind man can see where I'm coming from

quote:
I didn't leave the stage area the whole night, playing continuosly for 4 hours. When things are going good it's really not like work at all.

That is awesome.!


quote:
My songlist doesn't change much so I am personally convinced that the Porchboard and the additional B1s, fool the audience because they feel the beat on some material they normally wouldn't notice.


It sounds really great. The great thing is that you can deliver a somewhat "percussive" performance without obscuring the beauty of the guitar itelf (and the vocals). Hard to pull that off with standard amplification.

Hope to see this demonstrated in Ashland in a few weeks! Smile

Best Wishes,
Jeff
www.theunmentionables.com
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May 25, 2004

Re: Even a blind man can see where I'm coming from

Hi All,

I decided to revive this old thread because, after much procrastination my friend Roger and I finally set up and played with two L1's in the aforementioned room.

You know how it is, one says, "let's..." and the other says, "OK", but it just never happens.

Well Roger called on Thursday and specifically asked If I could come over and bring a couple of systems for Friday night. Since I had no plans I said, "yes".

I took my original Classic, and a new Model II with T1. Though I normally play with at least 2, and most times 4 B1's, I decided to take only 2. One each, for the two systems. Everything fit in the trunk of my old '93 Altima.

My intention was to leave the Classic for Roger to use until he makes his decision to buy, so I set him up in it. His SM58 into #04 preset, and his Taylor GS into #49.

The stage area is small so the systems were just far enough apart to place the stacked B1's between them. We were about 5 ft. in front of our respective L1.

I selected my "scene" while Roger noodled and made adjustments with his R1. When it seemed he had settled on an eq setting, I picked up a rhythm and began to sing a song we both knew.

As he joined in singing some harmony I could tell there was a little uneasiness, but we continued, and by the end of the third song he was completely relaxed and into what was happening around him.

The room was full and it surprised both of us how quickly the positive comments came. Things like, "Man that's the best you ever sounded in here", and "It's clear all the way back to the door", and "It even sounds good over here" refering to a couple of tables that are notorious for terrible sound.

One regular, who had watched intently as I set up the two systems, had taken a seat at the bar about 15 feet from the L1's. After a few songs Roger looked at him and said, "Well?" He replied, "It's strange, Like I hear the sound coming from you, not like it's coming from the speaker.

We played two long sets, and wrapped it up about 1:30. I unplugged Roger's guitar and put it in the T1 and asked him to play something so he could experience the T1. The patrons who were leaving sat back down and he played for another 20 minutes or so. We switched through my scenes, and then tried the GS preset, and the Factory "singer/songwriter" preset.

It was a great evening for me. Roger is a fantastic guitar player with all the chops and good taste too, an all too rare combination.

I realize I'm rambling but just a couple more thoughts before closing.

As Roger began to noodle I realized he was going in the same direction for his tone as I was currently set, so .... My place, when on a stage with such a guitarist is certainly second fiddle, and I realized I needed to leave him room so I changed my sound to a differnt sonic space. With his sound fuller and louder he was able to experience what it would be like if he were playing solo, and I got the experience of providing a background he could play over. I spend so little time playing with other musicians that it is an absolute treat to me when I get it right and can lay down and hold a rhythm that allows a more accomplished player to show his stuff.

I left the Classic and both B1's for him to use until he gets his own, and as I was walking out with the Model II powerstand and L1 sections I had another thought that I will share later in "To and From the Moderators"

O..
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Dec 5, 2004

Re: Even a blind man can see where I'm coming from

Good to hear Larry! I've always heard myself very good when on his stage, but the sound at the tables was never great. I know you had a good time, wish I had been there. Roger's talent deserves a Bose.

Andy
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May 16, 2017

Re: Even a blind man can see where I'm coming from

I love reading about good gigs, please, Ramble On.
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Re: Even a blind man can see where I'm coming from

quote:
As Roger began to noodle I realized he was going in the same direction for his tone as I was currently set, so .... My place, when on a stage with such a guitarist is certainly second fiddle, and I realized I needed to leave him room so I changed my sound to a differnt sonic space.


Just curious, what scene or settings did you choose for yourself? I realize I don't know what guitar you play, but I'd still be interested to know, as a starting point...I may run into a similar situation.

BTW OT: I really enjoyed your video interview; informative and encouraging!
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May 25, 2004

Re: Even a blind man can see where I'm coming from

Hi Tres,

I don't have my T1 with me here but the guitar preset I use is one of the Taylor's. Maybe GS with cedar top. I use the EV N/D 767a mic and most times the matching preset, but occasionally I will switch to the KMS 105 preset. Not the mic, just the preset.

In the instance mentioned above, I rolled back the low, and the high end quite a bit. This allowed Roger to have a full, wide, warm sound that he would normally play with, and my guitar was moved back in the mix, eliminating competition.

I don't recall the actual settings, but normally I will have mids and lows in the negative range, and the highs somewhere between -2 and +2 for my guitar. I use the para eq and make a pretty drastic cut around 800hz about .75 octave.

My guitar is a bassy Martin D18GE with the LR Baggs ibeam active.

I have a couple of scenes saved. One is primarily for use in my acoustically challenged basement, the other is a good starting point for most normal venues. I continue to tinker when I'm practicing or rehearsing and if something sounds particular good I will save it, then come back the next day and see if it still feels the same.

Glad you enjoyed the interview.

O..