Isn't this google thing something.
From George Thorogood. (Blues Joint), Guitar Player
| August 01, 2003 | Cohen, Elliot Stephen
What originally drew you to your trademark Gibson ES-125 guitar?
They're the only ones that I can play! They stopped making them in 1970, so
be sure to put this in your article: "Please don't steal George's guitars."
I also use a Dobro pick, and they don't make those anymore, either. I'm
screwed if my ...
One needs to pay for the rest of the article, but, hah, I think we got the
good part! What type of Dobro pick, what colour, and which pocket he keeps
it in are still a mystery. I suspect he was purposefully vague so as to
protect the elusive secret of his sound. I think he is also implying that
it's is ok to steal one of his guitars, as long as it's not an ES-125!
Now we just need his type, guage, and tension of string...
----- Original Message -----
From: "David Tayler" <[email protected]>
To: "lute-cs.dartmouth.edu" <[email protected]>
Sent: Tuesday, October 13, 2009 6:23 AM
Subject: [LUTE] Re: The End of the Golden Age
I have to say I would want to know exactly what kind of pick he had :)
dt
At 05:11 PM 10/12/2009, you wrote:
I think the point George is making is that questions about minutiae
are just that, and perhaps there are more important questions to be
asked first. Sure the gear and technical details are interesting to
many, but they easily get put before the music. While I'm not the
biggest fan of George, I don't think that his choice of pick has a
profound influence on the way he sounds.
If I heard Django (ok, not possible, so maybe Stochelo Rosenberg)
play a mind blowing solo, I certainly hope I would have the
restraint not to ask, "That was great, what kind of pick was that
you were using? And how exactly were you holding it? Ahhh.".
On the other hand it can be difficult to ask meaningful
non-technical, non-gear related questions. (e.g. "George, if your
playing were a tree, what type of tree would it be and why?" or
"What was the inspiration for 'I drink alone'?").
----- Original Message ----- From: "vance wood" <[email protected]>
To: "Lute List >" <[email protected]>; "Stuart Walsh"
<[email protected]>
Sent: Monday, October 12, 2009 8:19 PM
Subject: [LUTE] Re: The End of the Golden Age
To someone who plays the instrument (what ever that instrument
might be) things like picks, string tensions and string materials
become important and interesting questions. As of this day and age
discussion over the quality of reproduction Lutes, the way they are
strung (octave or unison) and tunings with the use of additional
frets are fodder for detailed discussion around here. If the
professional being queried about such things thinks those subjects
are irrelevant to the music then they are either lying or they do
not want to reveal how they get the kind of sound that allows them
to play the afore mentioned music in such a way that their
performance becomes significant. After all thing are said and
done, at least as far as "ancient music" is concerned, composers
and their compositions and the matrix within which they occur have
been discussed in great detail for many years. What is there about
the music that we do not yet understand? What becomes important in
this context is the performance; which brings us back to the
original premise in the first sentence of this reply.
----- Original Message ----- From: "Stuart Walsh" <[email protected]>
To: "Ron Andrico" <[email protected]>
Cc: <[email protected]>; <[email protected]>
Sent: Monday, October 12, 2009 6:27 PM
Subject: [LUTE] Re: The End of the Golden Age
Ron Andrico wrote:
I'll add my two cents worth on the other thread. In a Guitar
Player
magazine interview from the 80s, when asked what kind of pick he
used,
George Thorogood's response was, "If you can't think of something
more
interesting to talk about, this interview is over." I guess we're
not
discussing the same genre but amusing anyway.
OK - but not the same genre and not really the same fundamental
issue. As a parallel, if a lute player were asked for details of
the string tensions they used, then maybe Thorogood's (?) response
might be in order.
But Crawford Young's ideas on plectra - on the face of it - seem
to fundamentally different from just about all other plectra...
on any instrument. It's a bit like saying of someone who plays
the lute with gloves on: look forget the gloves, just listen to
the music, that's all that really matters.
Ron Andrico
www.mingarda.com
> Date: Mon, 12 Oct 2009 09:26:08 -0700
> To: [email protected]
> From: [email protected]
> Subject: [LUTE] Re: The End of the Golden Age
>
> Very well put indeed. To realize the unforced, unedited
perfection
> that IS attainable- albeit by nearly superhumanly talented
> performers- just go back to earlier "Golden Ages" of recording,
like
> the old 78 rpm days. Studio recordings as well as live recordings
> done in one take. At the moment I am recalling the likes of
Django
> Reinhardt and Art Tatum (who at least were taped- earlier
recordings
> were not only uneditable but the performers also had to tailer
the
> movements to the time constraints of what could fit on one side
of a
> 78 record surface. Without sacrificing performance standards!)
>
> Dan
>
> Unfortunately, this exceptional cleanliness is produced via a
> huge number of digital edits which will be undetectable and
therefore
> in a sense, "natural." The problem with this is that the edits
where
> never conceived of or performed as an organic whole so that
finished
> product, while smooth, often lacks life. Imagine if Martin Luther
> King Jr. would have recorded his "I have a dream" speech by
reciting
> it 50 times, re-saying certain problem clauses or stumbled words,
> then having some audio engineer piece the various takes (some
perhaps
> comprising a single syllable) together with 900 edits. Yes, his
> voice as an object might technically sound "better" once the
quivers
> and explosions were taken out, but would it have the same sense
of
> outrage and urgency? What would be the point?
>
> Chris
>
> --
>
>
>
> To get on or off this list see list information at
> http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html
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References
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