Fender Jazzmaster dating

Dating U.S. Made Fender Instruments from Fender.com For most of Fender’s U.S. instrument production history, PRODUCTION DATES have been applied to various components. Most notably, PRODUCTION DATES have been penciled or stamped on the butt end of the heel of the neck of most guitars and basses, although there were periods when this was not consistently done (1973 to 1981, for example) or ... 1961 Fender Jazzmaster DescriptionUp for sale is a stunning 1961 Fender Jazzmaster in its original and perfectly worn sunburst finish. This Pre CBS example features an 11 / 61 pencil neck date, visible pots dating to the 1st week of 1961, a pre L series serial, spaghetti logo, clay dots, single-line Kluson tuners, slab Brazilian rosewood ... If your guitar is either a Jazzmaster or Jaguar, the year is 1994, Otherwise if your guitar is an FSR, you’ll be looking at some dating issues. FSR stands for (Fender Special Run) which means they were made specifically for an individual retailer. The FSRs starting with LE start in the 200s. Extremely clean circa 1969 Fender Jazzmaster in beautiful original condition. The neck date code is slightly illegible; 13 0801 8 ?? During this era of Fender the dating is not entirely accurate and the 13 model number was used much earlier (1966) on Jazzmasters. Body is possibly nitro finish with typical fine checking. The following charts are the revised dating tables for Fender tube amps. The revisions were made based on data collected since the tables were initially published. Some tables changed very little and others changed quite a bit. Unfortunately, good dating information for silverface amps from the 1970s is still lacking and that’s why there isn ... dating japanese-made fender instruments Records on early Japanese-made Fender instruments are not complete and are therefore not completely definitive for dating purposes. As always, serial numbers should only be used as a guide for dating and should be used in combination with known age-related specifications to help identify the production ... The most important thing to keep in mind when dating a Fender is the highly modular nature of the designs. Like Henry Ford, part of Leo Fender's genius was in optimizing the company's production efficiency. His guitars were built en masse by an entire factory, not a single luthier toiling over one instrument at a time. Dating Your U.S.-Made Fender Instrument For most of Fender’s U.S. instrument production history, production dates have been applied to various components. Most notably, production dates have been penciled or stamped on the butt end of the heel of the neck of most guitars and basses, although there were periods when this was not consistently ...

Opinion needed: CME spec vs Vintera Jazzmaster?

2020.08.01 01:15 papaswaltz Opinion needed: CME spec vs Vintera Jazzmaster?

I’m looking for some opinions from you guys. I’ve been wanting to get something different (my main guitars are Gibsons, a Les Paul Studio & an SG) and I decided on a jazzzmaster (based on my love of Sonic Youth, Dinosaur Jr. , etc). After narrowing it down to the Vintera or this CME spec Classic Player, I pre-ordered the CME Player.
Well, it’s been delayed 2x now (currently the ship date is October...it was originally June) and I’m considering whether I should cancel the pre-order & switch to the vintera. I’ve never played either, but I know a few of you have other CME spec player JMs so I’d appreciate any thoughts anyone may have.
submitted by papaswaltz to offset [link] [comments]

2020.04.22 18:30 MrContracts 77--Band Instruments

Coming in at #9. 🎷🎸🎺🎻🪕🥁 LET THE MUSIC PLAY. I'm ready to cut a rug baby, yeah! And it looks like the army is too. The DoD is putting together a reverse auction through Unison Inc. to aquire some band instruments. Those that have some of these instruments and wants to help the DoD out, checkout the full description.
Contract Opportunity Type: Combined Synopsis/Solicitation (Updated)
Updated Published Date: Apr 22, 2020 11:47 am EDT
Original Published Date: Feb 24, 2020 04:52 pm EST
Updated Date Offers Due: May 01, 2020
Original Date Offers Due: Feb 26, 2020 11:59 pm EST
Inactive Policy: Manual
Updated Inactive Date: Oct 28, 2020
Original Inactive Date: Aug 24, 2020
Initiative: None
Original Set Aside: Total Small Business Set-Aside (FAR 19.5)
NAICS Code: 339992 - Musical Instrument Manufacturing
Place of Performance:
Fort Hood, TX 76544
For this solicitation, MICC End User intends to conduct an online competitive reverse auction to be facilitated by the third-party reverse auction provider, Unison, Inc. Unison Marketplace has developed an online, anonymous, browser based application to conduct the reverse auction. An Offeror may submit a series of pricing bids, which descend in price during the specified period of time for the aforementioned reverse auction.
The MICC End User requires the following items, Brand Name Only (Exact Match), to the following: LI 001: Willson 2900S Euphonium Key: Bb Bore: .591-.670-inch Bell: 11.5-inch Bell Material: Yellow Brass Bell Position: Upright Valves: Stainless Steel Piston Number of Valves: 4 Valve Position: Traditional 3 Top + 1 Side Features: Compensating Valve System Finish: Silver, 3, EA; LI 002: Burkart Flute Model: 9K G&S, professional Features: offset G, C# trill key, M2 cut headjoint, 1, EA; LI 003: Burkart piccolo, professional model Standard w/ Grenadilla Wood Wave Style Upgrade, 2, EA; LI 004: Miramatsu Flute, DS Model Features: offset G, 1, EA; LI 005: Fender Acoustasonic Telecaster Acoustic-Electric Guitar Natural, 1, EA; LI 006: Victory V212VG Compact Closed Back Speaker Cabinet 120 Watts 16 Ohms -, 1, EA; LI 007: Victory V30 MKII Guitar Tube Amplifier Head 40 Watts, 1, EA; LI 008: Fender American Ultra Jazzmaster electric guitar Rosewood fingerboard mocha burst color preferred, other colors acceptable, 1, EA; LI 009: Ibanez J Custom RG8570Z - Black Rutile, 1, EA; LI 010: PRS CE 24 Semi-Hollow Electric Guitar Amber color preferred, other colors acceptable, 1, EA; LI 011: Bb Trumpet: Yamaha Xeno YTR8335 silver, 8, EA; LI 012: CONN 11DE Symphony Double French Horn w/ screw bell, 2, EA; LI 013: Tenor Trombone, Edwards T396-A w/Rotax Valve & Open Wrap F Attachment, 3, EA; LI 014: Tenor Trombone, King Legend 2B, 1, EA; LI 015: Tenor Trombone, King Legend 3B, 1, EA; LI 016: Trombone Case, SKB 462, 3, EA; LI 017: Conn 20K Sousaphone, Silver finish, 1, EA; LI 018: Miraphone 1291 Tuba, 4/4 BBb. 4 piston valves., 2, EA; LI 019: Yamaha YAS-875EXII Custom Series Alto Saxophone Lacquer, 2, EA; LI 020: Yamaha YAS-82ZII CST Z ALTO SAX Un-lacquered, 1, EA; LI 021: Yamaha YTS-875EX Custom Tenor Saxophone Lacquer, 2, EA; LI 022: Yamaha YTS-82ZII Custom Z Tenor Saxophone Un-lacquered, 2, EA; LI 023: Yamaha YBS-62 Professional Baritone Saxophone, 1, EA; LI 024: Nord Grand Stage Keyboard, 2, EA; LI 025: Nord Piano 4 Stage Piano, 1, EA; LI 026: Studiologic VFP-1 Single Piano-style Sustain Pedal, 10, EA; LI 027: On-Stage Stands KPK6500 Keyboard Stand and Bench Pack, 3, EA; LI 028: Pro Co EGSS-10 Excellines Instrument Cable, 10, EA;
Full description of contract at beta.sam.gov
submitted by MrContracts to usgovcontracts [link] [comments]

2020.04.03 16:45 johnspresso [Discussion] How to date vintage Fender Jazzmaster

One of my favorite parts of vintage Fender guitars is the many different ways to determine the year of manufacture. Most probably know that Fender serial numbers are not a great way to date the guitar since serial numbers were only partly sequential and that the neck plate is an easily replaceable part. Here's a blog post I wrote about four ways to date a vintage Fender Jazzmaster including neck and body dates, features, potentiometer codes, and serial number: https://truevintageguitar.com/blogs/tvg-blog/how-to-date-a-vintage-fender-jazzmaster-electric-guitar. I like to use all four to determine a probable year of manufacture.
Do you have a vintage Fender guitar you'd like help dating? I'd love to see it. Post some pictures and I'll do my best.
submitted by johnspresso to Guitar [link] [comments]

2019.12.13 23:28 ceetee15 The guitar interview: Noel Gallagher

12th December 2019
“I’m supposed to go to this gig tonight in Brooklyn, but I don’t know,” Noel Gallagher says, his voice trailing off as we sit down for coffee in the Penthouse café of his Midtown Manhattan hotel, one rainy afternoon recently.
Even Noel Gallagher doesn’t want to go to Brooklyn.
We’ve encountered Gallagher many times since he left Oasis, but he seems more relaxed than ever this time, as we chat about shared interests and mutual friends. In person Noel is short, even slight. But he’s an intense presence, too. Wearing black trousers and an expensive-looking black t-shirt, topped with a gold chain and pendant, it’s the ever-present sunglasses that are seemingly there to keep you in your place.
“I picked them up cheap at Harvey Nichols,” he says, proudly, when we enquire, lightening the mood considerably.
We’re here to talk guitars, and his new EP, Blue Moon Rising, the third in a series that marks a stark departure from his Oasis days, his early solo work, or even his latest, Dave Holmes-produced Who Built The Moon?, from 2017. A mixture of Ibiza-style dance tracks and Bowie, Stones Roses, and Smiths-influenced pop songs, there’s been a love/hate response from his rabid audience.
“I don’t really care,” he waves us off, when we mention the negative chatter amongst some of his oldest, and once loyal, fans. “I’m not really making music for them, am I?”
It’s true, if his brother Liam has made no secret of trying to capture the Oasis nostalgia market with his two solo albums and, especially, his live shows, the elder Gallagher has flexed his creative muscles repeatedly, even on his first solo album, 2013’s Noel Gallagher’s High Flying Birds.
“Before I started that record, I had acoustic demos, and I listened to them for quite a while before I actually recorded them, so by the time I got in there to record them, I had a fair idea of what I wanted to do with them,” he explains. “But I never thought I was making that record for my fans. I was just trying to serve the songs. On the second record, when I played people The Right Stuff, they said, ‘Well, that’s a bit different.’ But I didn’t care. If it’s a good recording of a great tune, that’s all that matters to me. I wasn’t thinking ‘Wow, this will really fuck with people.’ I wouldn’t do that. Because all that matters to me is the song.”
Don’t look back?
Chasing Yesterday, from 2015, was indeed a departure, but still hewed pretty closely to the past in many respects. Who Built The Moon? changed all that. While he’d worked with The Chemical Brothers in the 90s, and never made a secret of his love for Manchester’s Haçienda-era club music, many diehard fans were up in arms at Gallagher’s seeming creative left turn. But for him, it was just part of the process of following the example of his friend and mentor, Paul Weller.
“When I went to make the last album with David Holmes, he famously said to me on the second day, ‘Do you have to play the guitar all the time?’” Gallagher says with a laugh. “I looked at him and I thought, ‘Google my fucking name there for a second.’ I said, ‘What else am I going to play?’ He said, ‘Can you play keyboards?’ I said ‘No.’ And he said, ‘Great. You’re going to play keyboards.’ It seemed mad, but once I’d written a few songs like that, it was actually really fucking liberating. So when I use guitar now, like on the new EPs, they just kind of drift in and out.”
Although the new music he’s making is self-produced, he says he can’t be bothered with the technical aspects of the recording process. “A lot of these new tracks started with a bassline,” he explains. “And I’ll fiddle with the gadgets, because I like a box that makes noise. But I’ll instantly throw the manual away, because it’s just jargon and gobbledygook for me. I can’t fucking stand any of it. I’ll spend an hour trying to switch it on.
“I could eventually work out how to use it, but I’ve got this engineer, Paul Stacey, and this other guy Emre Ramazanoglu, who are absolute fucking wizards on the computer. Emre, he’s not showing me how to do stuff, but when I have these outlandish ideas and I ask, ‘Is it possible to do that?’ – pew – it’s done. Sounds amazing. Like, wow. I’ve been missing out sitting there strumming this fucking J-200.”
Of course, second only to his prowess as a world-class songwriter, Gallagher is known as a formidable melodic guitarist, with an eclectic and fearsome collection of vintage and bespoke guitars.
“Gibson is doing a signature model of that one,” Gallagher says, when we ask about the J-200 he was referring to, the infamous sunburst model from his Oasis days, with the Adidas sticker above the soundhole. “I sent it there to be photographed, the grain and the whole thing. It’s not even a J-200, you know. It’s a J-150 that I just took off the shelf in London, played it, and I was like, ‘Yeah, I’ll take it.’ I never thought anything of it. But I’ve written some great fucking songs on that guitar.
“They only made them for a couple of years. In fact, just this year I found a blonde one, which I got off Reverb.com. I try not to buy guitars off the internet, because you’ve got to fucking hold them first, and it was a bit expensive, but I thought, ‘Fuck it. I’ll just go for it.’ It arrived and it was amazing. I’m playing it on tour with U2.”
Of course, he’s also got several guitars that pal, and early Oasis booster, Johnny Marr lent him back in the earliest days of the band. “I never gave them back,” he says with a chuckle. “He’s given me three or four guitars over the years. The first one was a Les Paul that belonged to Pete Townshend. That one got damaged, so then he gave me the black Les Paul that was the guitar he used on The Queen Is Dead. And he gave me a Stratocaster that I wrote and recorded Don’t Look Back In Anger on. He’s not getting them now.”
And while he used to arrive at the studio in the Oasis days to an array of guitars to choose from – culled from his formidable arsenal, based on his mood at the time, or the sonic direction in which he felt the songs he had written should go – now he says he simply takes one guitar and a bag of pedals.
Back to basics
“I’m making a different kind of music now,” Noel Gallagher confesses. “Who Built The Moon? is all a Nash Strat and a brand-new Fender silverface Princeton. And on the three new EPs that I’ve done, I used one guitar. It’s The Edge’s signature Strat, by Fender. It’s fucking amazing. It’s a copy of his 1974 Strat, the black one. And it’s hands-down one of the best guitars I’ve ever played in my life.”
At home, Gallagher confesses, he likes to rotate his guitars.
“I don’t have a go-to guitar that I write on,” he explains. “I’ll have a guitar for a couple of years, but then it’ll feel like it’s all used up, so I’ll send that one back to my lock-up. I’ve got a lot there, so I’ll just pick one at random, because I think all guitars have got songs in them. Sometimes I’ll want to have an acoustic. For a while it was a Nash Strat. Lately I’ve been playing bass around the house, endlessly, and that’s how most of the new songs started, in fact.”
On tour, along with the blonde Gibson J-150, Gallagher is in some ways back to basics. “I’m playing Jazzmasters, both by Fender and Nash,” he says. “You know, I was never a fan of Strats or offset guitars. But I was on tour, and I saw this Nash Jazzmaster – a natural one – and I bought it. And I’ve since got to know Bill Nash, and now I’ve got about 20 of his guitars. And I swear by them. His Teles are amazing, too. And Fender’s new Vintera series is really good. I don’t like the far-out fucking designs. I like the real simple ones.”
So is there one guitar, we ask Gallagher as we wrap up, that he simply couldn’t live without?
“My favourite electric guitar I bought in the 90s,” he says without hesitation. “It’s the 1960 Gibson 355 that I played in Oasis. I don’t play it so much nowadays, because the music I’m writing is different and I’m going for a different sound. But if push came to shove, that guitar is priceless for the amount of tunes that I wrote on it.”
As we part, we ask Gallagher if, now that the third of the trifecta of EPs is due for imminent release, we’ll be getting an album proper from him in the near future.
“Apart from the odd festival date next summer, I think I’m going to try to take 2020 off,” he tells us. “Now, that being said, my missus may have something to say about that. Plus, I’ve got a load of songs, they’ve just got to be knocked into shape. On the way down to meet you I was working on them on my iPad, making another list. I have a list of things – ‘I must do that’ – but actually, once the Christmas EP is out of the way, I’m going to take a step back.
“I just need to get away from it for a bit. So I don’t think I’ll start to make an album seriously till 2021. The thing is, there’s a generation now, between 15 and 18 years old, that have just got into the Oasis thing. They’ve never heard most of what I’ve done, that’s for sure. But really, they have no idea what was going on before. So for those little pricks, I’ll take great pleasure in ruining their days.”
For more information about Noel Gallagher’s High Flying Birds, click here.
submitted by ceetee15 to oasis [link] [comments]

2019.10.28 16:45 QuinnG1970 I made the worst mix I have ever made yesterday, and can’t figure out why

Let me preface this by saying, I’m a bedroom studio/iPad home recording artist. I have no illusions that I can make a professional-sounding recording with the tools I have. But over the past 4 months of doing this, I always make something that’s listenable and could at least serve as a decent rough mix that a pro could turn into something more polished.
And I can’t figure where I went wrong as my approach, tools, and setting were all the same as I have used on other tracks.
Here’s the rundown:
iPad 9.7 Fender Jazzmaster UR22MKII Seineisher HD280 Headphones Shure Beta 58
Cubasis Amplitude Audiobus (Amplitude as Output, Cubasis as Input) Syntronik Poison-202 X-Drummer
I’m recording a scratch track of a song for which a friend will be recording a bass part.
I laid down the rhythm guitar for the song in Cubasis then, imported the guitar into X-Drummer to create a backing audio drum track.
Bounced a WAV of the XDrummer Drums Only audio and imported that into Cubasis.
Re-recorded guitar in Cubasis, this time playing to the XDrummer WAV with a 20% volume click (there’s a 2 bar drop after the first chorus so I needed the click to come in right on the second verse)
I’m using four synths from Syntronik and Poison-202 (Alpha Square, Keep On Bass, Sci-Fx, and ZX-Spectrum, respectively, fwiw) as MIDI Audio Units with a MIDI part that serve as part of the intro
Finally, I had some wash guitar feedback mixdown WAV (from previously recorded from Amplitude into Cubasis sessions) as ambient bedding in the intro
Bar 1-16: Ambient Guitar feedback; duplicated, one panned left, one panned right 100%
Bar 1-4: Sci-FX panned 75% Left
Bar 2-4: ZX-Spectrum panned 75% Right
Bar 4-16: Alpha Square; Duplicated; L=25% R=25%
Bar 8-144: Electric Guitar parts
3 played/recorded using the Lead pickup setting of the Jazzmaster
3 played using the rhythm pickup setting
Recorded as Amplitude>Audiobus>Cubasis;
Lead Pickup setting parts are panned Left at 90%, 60%, and 30%
Rhythm Pickup setting parts were played with Amplitude’s Delay FX (1/4 BPM sync, 50% Feedback, 25% Level)
and Fender Tape Echo FX (1/4 BPM sync, 25% Echo, 50% Feedback, 50% Brightness)
Rhythm Pickup parts panned Right at 90%, 60%, and 30%
(Also, all 6 parts are different takes of the rhythm guitar portion of the song)
Bar 8-144: XDrummer WAV backing track. Duplicated; 0% pan; 30% preset Compression and 50% preset Delay as Send Effects
Bar 8-144: Vox panned 0%
Because I was putting this together for a friend to lay down a bass part, I wanted to make sure he had enough headroom, so I mixed everything as low as I could to leave about 55%-60% on the Master fader
The Wash and Synth parts range from -33dB to -21 dB
Lead Pickup Takes: -15dB Rhythm Pickup Takes: -18dB
Three Vox takes ranging from -20dB to -10dB; 0%
When listening through the Seinheisers via the UR22MKII at 50% volume everything sounded great. I was actually very surprised and gave myself a bit of a pat on the back as this has been my most involved effort to date. Everything was clear and leveled. But when I bounced the WAV out during mixdown, first I was worried at how small and thin the waveform looked. Playback of the mixdown through the Seinheisers was okay, but not as good as within the the project file.
Then I played it back through a pair of Bluetooth headphones and it is ungodly awful. None of my other mixes sound this awful. I was embarrassed and ashamed and felt like a goddamn fool because I really tried to put a lot of thought and effort into this and its absolute garbage. One of those, “Why the hell do I even bother? This is trash, I’m trash, I should kill myself (j/k, but also not, but j/k)” kind of moments.
There’s no point to this in terms of money or recognition, I know that. God, do I know it. But listening to the dreadful playback has killed most of my personal enjoyment of home recording for the moment. It’s that bad. Like, so bad, it may be “Proof I’m too incompetent and untalented to ever improve enough to be able to produce something listenable in a normal human lifespan”-type bad.
Chime in below with any thoughts or help you may have.
submitted by QuinnG1970 to WeAreTheMusicMakers [link] [comments]

2019.10.28 12:08 QuinnG1970 I made the worst mix of my life yesterday

iPad 9.7 Fender Jazzmaster UR22MKII Seineisher HD280 Headphones Shure Beta 58
Cubasis Amplitude Audiobus (Amplitude as Output, Cubasis as Input) Syntronik Poison-202 X-Drummer
I’m recording a scratch track of a song for which a friend will be recording a bass part. I laid down the rhythm guitar for the song in Cubasis then, imported the guitar into X-Drummer to create a backing audio drum track. Bounced a WAV of the XDrummer Drums Only audio and imported that into Cubasis. Re-recorded guitar in Cubasis, this time playing to the XDrummer WAV with a 20% volume click (there’s a 2 bar drop after the first chorus so I needed the click to come in right on the second verse) I’m using four synths from Syntronik and Poison-202 (Alpha Square, Keep On Bass, Sci-Fx, and ZX-Spectrum, respectively, fwiw) as MIDI Audio Units with a a four bar MIDI part that serves as the main intro element Finally, I had some wash guitar feedback mixdown WAVs (from previously recorded from Amplitude into Cubasis) as ambient bedding in the intro
Bar 1-16: Ambient Guitar feedback; duplicated, one panned left, one panned right 100%
Bar 1-4: Sci-FX panned 75% Left
Bar 2-4: ZX-Spectrum panned 75% Right
Bar 4-16: Alpha Square; Duplicated; L=25% R=25%
Bar 8-144: Electric Guitar parts
3 played/recorded using the Lead pickup setting of the Jazzmaster
3 played using the rhythm pickup setting
Recorded as Amplitude>Audiobus>Cubasis;
Lead Pickup setting parts are panned Left at 90%, 60%, and 30%
Rhythm Pickup setting parts were played with Amplitude’s Delay FX (1/4 BPM sync, 50% Feedback, 25% Level)
and Fender Tape Echo FX (1/4 BPM sync, 25% Echo, 50% Feedback, 50% Brightness)
Rhythm Pickup parts panned Right at 90%, 60%, and 30%
(Also, all 6 parts are just different takes of the same rhythm guitar portion of the song)
Bar 8-144: XDrummer WAV backing track. Duplicated; 0% pan; 30% preset Compression and 50% preset Delay as Send Effects
Bar 8-144: Vox panned 0%
Because I was putting this together for a friend to lay down a bass part, I wanted to make sure he had enough headroom so I mixed everything as low as I could to leave about 55%-60% on the Master fader
The Wash and Synth parts range from -33dB to -21 dB
Lead Pickup Takes: -15dB Rhythm Pickup Takes: -18dB
Three Vox takes ranging from -20dB to -10dB; 0%
When listening through the Seinheisers via the UR22MKII at 50% volume everything sounded great. I was actually very surprised and gave myself a bit of a pat on the back as this has been my most involved effort to date, everything was clear and leveled. But when I bounced the WAV out during mixdown I was worried at how small and thin the waveform looked. Then I played it back through a pair of Bluetooth headphones and it is ungodly awful. None of my other mixes sound this awful. I was embarrassed and ashamed and felt like a goddamn fool because I really tried to put a lot of thought and effort into this and its absolute garbage. One of those, “Why the hell do I even bother? This is trash, I’m trash, I should kill myself (j/k, but also not, but j/k)” kind of moments.
There’s no point to this in terms of money or recognition, I know that. God, do I know it. But listening to the dreadful playback has killed most of my personal enjoyment of home recording. It’s that bad. Like, so bad, it’s “Proof I’m too incompetent and untalented to ever improve enough to be able to produce something listenable in a normal human lifespan”-type bad.
Any insight or help is appreciated. Thank you for your time.
submitted by QuinnG1970 to ipadmusic [link] [comments]

2019.10.16 02:53 sanfrancisandco Let's say you have $140K to spend on a full media facility...

I will be leasing out warehouse space to build the tracking room, control room, iso booths, and the filming area (hopefully with enough room for a cyc wall.) I’m looking at spaces around 3,500 - 5,000 square feet that have existing offices I can treat and repurpose as a podcast suite and editing suite.
Here’s what I already have:

Here’s are the rooms I need to build out and the gear needed for each:

What are specific must-haves I need? My list is very vague so I’m hoping you guys can help point me in the right direction. Take a look at the gear I’m considering and maybe you can suggest something else or help fill in the blanks.
How you spend $140K on your dream/reality studio? What cameras would you buy for small corporate videos and indie music videos? What photography camera and lens? What machines would you buy? What kind of specs do they need? What recording console? Room treatment? What desk? Mics? Preamps? Compressors? Plugins? Cyc wall?
submitted by sanfrancisandco to recordingstudio [link] [comments]

2019.10.16 02:32 sanfrancisandco Let's say you have $140K to spend on a full media production facility.

Here’s what I already have:

Here’s are the rooms I need to build out and the gear needed for each:

I will be leasing out warehouse space to build the tracking room, control room, iso booths, and the filming area (hopefully with enough room for a cyc wall.) I’m looking at spaces around 3,500 - 5,000 square feet that have existing offices I can treat and repurpose as a podcast suite and editing suite.
What are specific must-haves I need? My list is very vague so I’m hoping you guys can help point me in the right direction. Take a look at the gear I’m considering and maybe you can suggest something else or help fill in the blanks.
How you spend $140K on your dream/reality studio? What cameras would you buy for small corporate videos and indie music videos? What photography camera and lens? What machines would you buy? What kind of specs do they need? What recording console? Room treatment? What desk? Mics? Preamps? Compressors? Plugins? Cyc wall?
submitted by sanfrancisandco to buildastudio [link] [comments]

2019.03.13 19:24 i_literally_died [GEAR]Someone, anyone, please help me identify which pickups are in my Jazzmaster

My Jazzmaster has serial number B001075, and is a Crafted in Japan model. Yes, I have Googled this, and most resources will tell you that this isn't possible; that B serials are a 'Made in Japan' guitar.
It turns out, I'm somewhere in the transition phase from Made to Crafted. See here and here.
These dates (~98/99) tally up with when I purchased it.
Now, I just really need to know which pickups are in there, without taking it apart and praying there is something to identify them with.
Anyone got anything here?
submitted by i_literally_died to Guitar [link] [comments]

2019.02.22 03:42 crykn Questions regarding Fender Jazzmaster

Questions regarding Fender Jazzmaster
So I've recently acquired a Fender Jazzmaster; however, I'm not certain of the year of the guitar. There are also a couple small issues I want to figure out how to fix. If this isn't the right place to ask these questions, just let me know and I will remove the post.
I understand that I could take the neck of the guitar off and look for the stamp on the base of the neck, but I'm looking for ways to check without disassembling it before I try that. I was told that the fret inlays look like clay, which means it's likely from 1964 or before. I've also been told the serial number could be used to try to date the guitar but it's not an exact system. According to this article it should be from 1961, but I would like to verify for sure. Does anyone know of any distinguishing features between 1961 and the other possible years it could be?
On the topic of issues that may need fixing, the pickup switch (not sure if it's just the head, or the whole switch) is not the original. I was wondering if that's something that should be replaced, where I could potentially find a replacement, or if that's not possible, something as close to the original as possible. Also, the bottom black dial on the left side of the guitar (according to the image) spins continuously and does not stop like the top dial does. How would I go about diagnosing the issue and seeing if it can be fixed without removing the original parts? I wasn't sure if it was possibly a simple issue like a set screw that needs to be tightened or something like that.
I don't really know anything about guitars, much less vintage guitars, so any help or informational resources that you can point me to would be very helpful. I also have a question regarding finish, but I will have to update the post when I have a picture that captures the issue.
EDIT: So the finish has a somewhat cracked appearance when light shines on it at the right angle. I guess this is probably just from the age, so I was wondering if this is something I should be concerned about or not.

(other image)
submitted by crykn to Luthier [link] [comments]

2019.01.11 21:16 meta-hauntology I decided to get myself a gift for getting into my first choice postgrad course, it’s an early CBS-era Jazzmaster. Any other jazz guitarists out there who play one of these?

I have a few decent acoustic guitars (Cigano GJ-10 and a Godin 5th Avenue) but I’ve been playing the same MIK Squier Strat that I got for $50 at a pawn shop when I was in middle school and I’ve been wanting to upgrade for awhile so last year I made a deal with myself that if I could bring up my GPA from 3.7 to at least 3.85 and get into a good school for my masters I would get myself a nice electric guitar. I originally wanted to get a Gretsch White Falcon which is a guitar that I have fantasized about since childhood but I tried a few of them along with some other hollow jazzboxes like the ES-175 and I found that I didn’t really like hollow guitars and found that their limitations outweighed their benefits so then I decided to get another Strat. However I happened upon an article about the Jazzmaster and how Leo Fender designed it to be the ideal jazz guitar, I always associated the Jazzmaster with grungey bands like Sonic Youth and didn’t have much interest but I saw a few videos from way back in the early 60s and liked how it sounded, tried some out at my local music store and fell in love with them. I got my application results on Tuesday and that night my dad sent me a link from Facebook that a music store in my city had a 1967 Jazzmaster for a “reasonable” price, went in on Wednesday and bought it, picked it up this morning after they set it up to my preferences. Before the mid ‘70s Fender serial numbers aren’t precisely tied to a year and date and there is some overlap in identifiers between late 1967 and early 1969 so in all probability this is a ‘68 and not a ‘67 but nonetheless I love it.
Some photos: [1] [2] [3]
Just wanted to share this.
Also I’m curious, any other jazz musicians out there who play a Jazzmaster?
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2018.09.19 01:43 guitarist89 [GEAR] Tell us the story of your #1.

Eager to hear the story of how you came into your #1, as well as what's so great about it, your history with it, etc.

I came into my #1 about six or seven years ago after taking a leap of faith buying it blindly from an online forum. I'd only ever bought one other guitar online before-- my previous #1, which I foolishly sold--, but had good luck with it so figured I'd give it another go. A few days after closing the deal it arrived at my doorstep and I'll never forget the sense of accomplishment that came with the instrument. It was love at first strum. I instantly knew this would be my #1 for life and that nothing could ever dethrone it. It was a liberating feeling knowing that I wouldn't have to search anymore. The guitar was a 2006 Custom Shop Fender Nocaster by the way. I'd always been after big neck guitars, but seldom found one big enough. That was the first selling point with this thing- the neck is absolutely massive; 1" all across with no taper. A true baseball bat neck. But beyond having a massive girth, the actual profile (a '51 "U") is supremely comfortable and falls flawlessly into the hand. The other prominent option for chunky necks is the V profile, but I've never been a fan of that as it's too pronounced and can be a bit fatiguing for me after a while due to the peak of the V digging too much into your hand. Anyways, the '51 U proved to be an instant favourite, especially paired with the more modern 9.5" radius. Frets are 6105's, which I, at times, feel are a bit too big for my tastes, but a favourite of most players. I think when one day it'll be in need of a refret that I'll go with a smaller more vintage style fret. I tend to do some big Gilmour-like bends, which usually crap out on a 7.25". Moving on, the wood on this particular guitar is extremely light and lively. The guitar is a light and extremely resonant 6.8lbs. Furthermore, the stock Nocaster pickups are just perfectly balanced, featuring that beautiful archetypal Fender chime and twang. I spend most of the time on the neck and middle pickups when I'm playing clean, but with gain find I'm on the bridge most of the time with the tone rolled down a touch. What I love about the bridge pickup is that even with the tone on 10, it's never got that harsh ice pick quality. Very musical and completely usable throughout. So the specs are great, as is the sound and feel- it's effortless to play and angelic in sound-, but even having said that I'm selling the guitar vastly short of how great it really is. It wasn't cheap at around $2200, but it has no business being as fucking amazing as it is at that price. I've since owned several VERY expensive golden era 50's and 60's vintage guitars (up to $30k) from Fender and Gibson, but have sold them all off as not a single one was able to keep up to my #1. It's funny, because for several years after getting in the Tele I was completely content-- and still am today--, but eventually got the itch to start experimenting and trying out different guitars. The goal wasn't to replace my #1, it was just to mess around and see what else is out there. I started going through guitars recklessly, at one point spending a luxury sedans worth in a single week when I got a 1954 Les Paul, 1959 ES-345, and 1965 custom colour Jazzmaster. I was deeply invested in the whole vintage thing, which after years of reading up about online I figured I'd give a go. Well, none of those guitars stuck around for more than a week or two as they were all horrible sounding and playing instruments. I quickly learned that vintage wasn't for me and felt, objectively, it served no purpose other than to brag to fellow gearheads online. I've now owned a couple dozen vintage pieces and not a single one has stuck around, because I just don't believe in keeping something around that won't get used daily.
About a year or two into getting my #1 I made the big mistake of selling it. I'd just gotten bitten by the vintage bug and was craving an old Jazzmaster, so off the Tele went. The guy who bought it couldn't stop grinning from the moment he picked it up and couldn't comprehend how I could let such a treasure of a guitar go. The very next day as I was gonna' plop down the cash for the Jazzy I learned it had some serious water damage, so I passed. I was now out a guitar. Right away I realized what a mistake I'd made and asked the guy who'd bought my #1 if he'd sell it back, but he of course declined- I don't blame him. So I started the painful quest to find a replacement. A couple days later I found another Custom Shop Nocaster locally and bought it, but it wasn't anywhere near the guitar my #1 was. It was a boat anchor in comparison and was just acoustically dead. Beyond measurable qualities like that, it lacked that special indiscernible something/vibe that makes you connect with an instrument. And don't get me wrong, it's not all about specs, because I've owned several guitars with "perfect specs" that were far from good because they lacked soul. Yeah, I'm that crazy internet guy who maintains that guitars have souls- at your service! So that other local Nocaster was a flop and I relentlessly searched for a worthy replacement, not just limiting myself to Tele's, but to anything that spoke to me the way the #1 did. I'm not kidding you guys when I say I felt physically ill each time I went to play the guitar and had something other than that #1 in my hands. I just didn't feel anywhere near as inspired and wasn't clicking with anything else. Call me difficult, a snob, whatever... I just have very specific preferences and know when I find "the one". After a year or so of utter misery, I reached out to the guy who'd bought my former love and pleaded yet again until he finally relented and agreed to sell it back to me. Persistence pays off... I'd bugged him at least once or twice a month before he finally agreed. I can't explain to you guys how happy this made me- I felt whole again. Bonus was that I made a good friend, who I'm still in touch with to this date- we hang out a few times a year and geek out over gear stuff.
I will never ever in my life make such a grave mistake again. The guitar is more than just a guitar- it's inspiration in a tactile format. I've owned some truly remarkable instruments over the past 13 years that I've been playing and while several were contenders for #1, this one has blown them all out of the water. No sum of money could ever coax me out of this guitar- it's THAT good, as anyone who's ever played it can attest. It's just alive and full of songs. I've come up with so many pieces of music on it that I can't even keep track.
Eventually I started wanting a backup, so had to start on a similar journey as before. I'd travelled all around North America in search of a backup Tele and ultimately ended up finding one at a shop just 20 minutes from me of all places. It was another Custom Shop creation- specifically a "50's Thinline". It's quite different to the main guitar as it's got a solid rosewood neck, an f-hole, and slightly different neck profile, but the overall feel and sound are extremely similar. The #2 is even lighter at just 6.1lbs and is ridiculously resonant- like a great old acoustic. It has a slightly warmer tone due to the solid rosewood neck, which makes for some lovely mellow tones. Very happy to have these two Tele's in the stable. I've gone through a TON of Tele's over the last few years. I won't say they're my favourite guitar- it just so happens that my two main ones are Tele's. My former #1, which I hugely regret selling, was a terrific CS Strat. I've not yet played/owned a better Strat-- that's including an original '55 Strat I owned last year--, but am now on the journey to find a great one which I'll keep forever. Ditto Jazzmaster's; have owned several vintage ones and adore the look and sound, but am yet to find one that's made up of that special "lifer" wood. Tele-Strat-Jazzmaster are my favourite guitars of all time. I guess I'm not really a Gibson guy- I love the 25.5" scale and that hifi dreamy sound.
So please come in and share the story of your #1!
Some photos:
submitted by guitarist89 to Guitar [link] [comments]

2018.02.06 06:02 i_am_from_cleveland Here's the text of the new Uncut Magazine MBV Interview

From the March 2018 issue of Uncut Magazine (which isn't available anywhere online except right here!)
You aren't missing much by not having the print edition. There was only one previously-unreleased photo in the article, as far as I could tell, but man oh man is it a doozy: behold, a photo of Kevin at their very first show.. There's also this little sidebar by David Conway about his early days in the band. As far as I can tell, this is the only extant Conway comment on MBV in any sort of recent time frame. Finally, Kevin has a little sidenote about their haircuts. It's quite illuminating. Other than that, the text below is all you need!
Enjoy! This must be the most extensive interview with MBV of all time. (If you think I'm wrong, please don't hesitate to correct me!) They have all four members in there, which I think could be a first. Also, my apologies if there's some paragraph break errors in here. It was pretty tough translating the text into something postable on Reddit, so some errors might've snuck in.
My Bloody Valentine: Perfect Sound Forever
A landmark of songwriting and sonic adventure, Loveless by My Bloody Valentine didn’t come cheap. As the band’s members tell Michael Bonner, this was a recording plagued by poverty, illness and a commitment to “plough through hell”. From Amsterdam, via squats, haunted studios and chinchillas, this is also the story of the enduring genius of the band’s visionary songwriter Kevin Shields. “I still can’t really figure out what it is he does,” says Paul Weller. “But I know something: only he can do it.”
TO THE RESIDENTS of South Kensington, the sound comes from everywhere and nowhere. For an hour, a strange and unaccountable low-frequency rumble rattles windowpanes and shakes paintings off their hooks. This is summer, 1989 and My Bloody Valentine are busy conducting a sonic experiment.
At this time, the band has taken up residence in a 16-track studio tucked into the side of a large warehouse space. As befitting one London’s most affluent boroughs, this space also had an art gallery attached to it. “We dragged the amps out to make it as loud as possible,” recalls Kevin Shields, the band’s chief architect. “It was just me and Colm [Ó Cíosóig, drums ]. He was on bass and I retuned all the strings so they were all really low and floppy. We just created this huge, grumbling noise. The room was shaking and the lights were flickering. It put us into an altered state of consciousness. The second we stopped, we heard a noise outside. Apparently, the owner had been banging on the doors for about 40 minutes. The gallery didn’t have any soundproofing. He’d heard this crazy noise on the other side of the borough. By the time he got to the studio, the whole building was vibrating. The doors were locked so he couldn’t get in. He was furious, but he couldn’t stay angry with us because he thought we were crazy. You see, Colm and me were laughing like a pair of five-year-olds. We felt like we were on the strongest drug in the world. That’s when we realised, ‘There’s something in this. What would happen if other people got to feel this, too?’”
As far as it goes, it is possible to pinpoint Shields and Ó Cíosóig’s wilful seismic disturbances as a transformative moment in My Bloody Valentine’s history. The band had always been preoccupied with what to say and how loud to say it: even during their earliest days, on the fringes of Dublin’s post-punk scene, when they drew from The Cramps’ gothic-psychedelic edge and the avant-garde musical philosophies of Einstürzende Neubauten. But the wild, heavy drones they conjured that day in West London introduced new perspectives and focus to Loveless, the album they began recording a few months later. “As a piece of work, Loveless is a whole universe in itself,” says Colm Ó Cíosóig. “Every time I listen to it, I hear different things in it. It’s like listening to wildlife or whales or something. It has its own space and time.”
Since it was first released in 1991, Loveless continues to exert a mighty pull on Shields and his accomplices. This month, he finally unveils a new analog edition of the album – along with its predecessor, Isn’t Anything – that has taken him two arduous years to complete. “I got the best I could get,” he says. ”But it’s not over yet.
There’ll be a double-album version of Loveless eventually…”
“Kevin is always open to going anywhere, but he thinks in very abstract ways,” admits Debbie Googe, the band’s bassist. “He isn’t a very linear person – he doesn’t go from A–B.
He goes from A–K to somewhere in the middle. He meanders around things.”
Abstract? Meandering? Certainly, the My Bloody Valentine story can be both of those things – we shall discover colourful digressions involving a haunted tape room, a colony of chinchillas and inner journeys into uncharted hypnagogic states. But critically, the My Bloody Valentine story is also about the fierce connection between four people, even during trying times. “It’s an incredible, fortunate meeting of people,” says singeguitarist Bilinda Butcher. “We all love each other so much that we just stay together, no matter what. We’ve got this thing nobody else has; it’s really special. Each of us knows that. Even now.”
“I don’t look for extreme life, I don’t,” explains Shields. “But for some weird reason extremes happen all the time, good things and bad things.”
EVEN at the start, My Bloody Valentine’s story was informed by a degree of chaos. Arriving from Queens, New York in Cabinteely, Co Dublin, Kevin Shields discovered punk rock began shortly after his 14th birthday: “the first song I ever played on a guitar was Buzzcocks’ ‘Harmony In My Head’.” At school, a fellow student in Shields’ kung fu class happened to be getting a band together: he already had the attention of Colm Ó Cíosóig, an enthusiastic drummer with no immediate expertise. “The first rehearsals Colm and I did, he didn’t even know about a beat,” recalls Shields. “He was just hitting his drums randomly, and I didn’t know about tuning.”
United in the first instance from the desire to play Motörhead’s “Bomber”, Shields and Ó Cíosóig’s earliest bands rose and fell in line with their personnel. One early accomplice was Liam Ó Maonlaí, later of Hothouse Flowers. Shields found himself asked to leave one group after he discovered a phaser pedal – “I was so fascinated by the sound, I didn’t want to turn it off. I enjoyed moving past the point of reason.”
A union of like minds, the work Shields and Ó Cíosóig began together was made for people not catered for by the mainstream. “We were pushing boundaries,” says Ó Cíosóig. “We had a Tascam four-track portastudio and a synthesiser. We’d make tapes with weird noises and drones and then improvise over them.”
An advertisement placed in a local record shop drew the attention of David Conway, who became their singer in summer, 1983. “He was crazy, a bit like Lux Interior,” says Ó Cíosóig. “It was great to have a wild man upfront, it made the gigs a bit more fun.”
The band – not yet called My Bloody Valentine – played their first gig on August 18 at a small Dublin venue, the Ivy Rooms. The name arrived a short while later, suggested by Conway in the bar of Dublin’s North Star Hotel. Gigs and lineup changes followed; but alas, “we weren’t popular in Ireland,” relates Shields. Taking advice from Virgin Prunes’ frontman Gavin Friday, they moved to the Netherlands. “In Holland, you get paid by the government for gigs, even if there’s no one there,” says Ó Cíosóig. “It was like a union fee, I guess. We sent a demo tape. We got one gig and decided to emigrate.” Without a regular bass player, they were joined on a Casio keyboard by Conway’s girlfriend Tina Durkin. “When it worked, it was good,” says Ó Cíosóig. “Those early Casios had this cool, organy sound like a Farfisa, which gave the songs a distorted groove.”
“In Amsterdam, we stayed in a dive called The Last Water Hole,” remembers Shields. “It was pretty rough; it was run by bikers. There were no sheets on the bed, just a cover on the mattress. Everyone slept in their clothes.” A sympathetic promoter offered them the run of his house in the countryside near Gouda. Aside from a commendably well-stocked record collection, the band discovered the house also contained a modest cannabis factory in the attic.
“We were pretty broke so were started smoking weed instead of tobacco,” says Ó Cíosóig. “I got used to carrying a big tobacco pouch full of weed around with me. One day, I walked into a police station in Amsterdam with a huge bag of weed in my pocket without even realising it was there. We tried to get work. Kevin managed to get a job herding cows for a couple of months.”
A move to Berlin in winter 1984 facilitated an introduction to a dynamic local promoter, Dimitri Hegemann. Under his patronage, they record a mini-album – This Is Your Bloody Valentine. “The studio was so cheap that the engineer who was doing the mixing for us had to do a live gig that night, so he had to leave at 6pm,” says Ó Cíosóig. “It took an afternoon to mix the record. One of the tracks was mixed in 10 minutes. We just put the faders up. ‘Done! Next track.’”
DEBBIE Googe came to My Bloody Valentine by a circuitous route. Originally from Yeovil, she had been involved in Somerset’s anarchopunk scene in the late ’70s, where her band Bikini Mutants self-released a cassette on local label, All The Mad Men. In the mid-’80s, she was in London, working at the Rio cinema in Dalston. Her then-partner, Annie Lloyd, was based in Berlin, where she fronted Hegemann’s band, Leningrad Sandwich. When My Bloody Valentine decided to relocate to London, Lloyd recommended Googe as a potential bassist. “They were so sweet and innocent,” she laughs. “Colm took ages to decipher. We used to practise in the squats where Kevin and Colm lived. They were pretty smelly, as you can imagine with three boys in a very small room and no open windows.”
As it transpired, the London squat scene proved critical to the band’s growth. “We lived a very free life,” confirms Shields. “I liked it that way. It was very positive. Most of our gigs were squat gigs, too. Some of the squats in London, they’d literally take out the first floor to make it more like a venue. We played in a squatted church in Bath once. It was like Mad Max. Kids running around with ripped clothes and hair black with dirt. It was the hardcore end of the convoy people, basically. They really didn’t like us. I have a tape of that gig somewhere. It’s very funny. You can hear us playing, then they got us to stop and you can hear a guy with a real hippie voice saying, ‘Hey, man. We told you to stop. It’s too loud.’ That was late ’85.” The picture that emerges of My Bloody Valentine during this period is one of guileless aspiration. The music – evident in songs like “The Devil Made Me Do It”, “Tiger In My Tank” and “The Love Gang” – was reaching for an aesthetic ideal not yet completely formulated. “They needed to get something down that was more in spirit of what they were like when they played on stage – which was astonishing,” recalls Joe Foster, who produced the band’s 1986 EP, “The New Record By My Bloody Valentine”. “There was total chaos going on.”
“They were great,” says Bilinda Butcher. “I was a bit of a fan. They were a bit different. They all had bowl haircuts. Dave was quite impressive as a frontman. Then my boyfriend at the time said they were looking for a backing vocalist and I went along for an audition. I remember Kevin was hitting pedals and amps, chucking things around. His glasses were stuck together with a plaster. I knew the words to some of the songs; I think that did it for Kevin. For Deb, I sang Dolly Parton’s ‘Bargain Store’ a cappella.”
In fact, Butcher was walking into a more fluid situation than she might have imagined. The band was growing restless with their direction; then, shortly after a tour in 1987, Conway decided to leave. Shields was now unsure how best to manage this event. Take on lead vocals himself? Or was a more radical approach necessary?
As Shields sees it, the arrival of Googe and Butcher – while two years apart – initiated a change not just in the band’s personal dynamic but also their sound. The music the quartet first made together – a single, “Strawberry Wine” and a mini-album Ecstasy, both in 1987 – was, they all agree, necessarily transitional. Stylistically, the songs shared a number of attributes with the jangly independent music of the mid-’80s. “It was the first time I’d ever written lyrics and sung them,” recalls Shields. “I remember coming home from Waterloo in the morning going, ‘I’m a songwriter!’ In ’87, early ’88, we very, very, very quickly decided that we didn’t like them. Then we were going to drop the name. We just wanted to erase the whole history.”
“You can hear where we’re going in songs like ‘Clair’ or ‘Please Lose Yourself In Me’,” says Ó Cíosóig. “But we wanted to rock out more. We were very inspired by the American scene – Dinosaur Jr, Sonic Youth and Hüsker Dü. Then Kevin got a great new guitar, discovered the tremolo arm and the reverse reverb effect. That gave him a whole new place to play in. A whole new sonic world.”
“I used reverse reverb all over the Ecstasy and ‘Strawberry Wine’ records to no great consequence, because I was using it the way it was meant to be used,” explains Shields. “Then in ’88, I discovered that it was extremely sensitive to velocity and how high you hit the string. You could make huge waves of sound by hitting it softer or harder. At the same time, my friend Bill Carey from Something Pretty Beautiful lent me his Fender Jazzmaster. It had a tremolo arm. I played it on ‘Thorn’. The second I did that, something jumped inside me. It allowed me to play in a way where I didn’t have to think about what I was doing, I could just feel it.”
Change came, and not a moment too soon. My Bloody Valentine showcased these exciting new developments in late 1988 via two EPs, released a few months apart on Creation Records, “You Made Me Realise” and “Feed Me With Your Kiss”.
“To me, the biggest shift was ‘You Made Me Realise’,” says Googe. “I remember when we were mixing it, Kevin said, ‘What do you think?’ I said, ‘It sounds like Jefferson Airplane.’ He said, ‘Fuck that!’ and started pushing things.”
“When we were doing ‘Feed Me With Your Kiss’, I made the bass so heavy it popped the speaker off the wall,” admits Shields. “Instinctively, the engineer put his foot out to stop it hitting the ground and it broke his foot.”
“By the time we got to Isn’t Anything, it wasn’t just the sound that had changed,” continues Googe. “It was something about the way the songs were falling rhythmically. It sounded different. It felt like a different thing entirely.”
FOEL Studio, Wales, summer, 1988. My Bloody Valentine take up residence to record their debut album, Isn’t Anything. “It was quite a spooky place,” remembers Bilinda Butcher. “The studio was in a converted barn. Kevin used to fall asleep there a lot and wake up completely freaked out. The guy who owned it, Dave Anderson, had been in Amon Düül. He had some weird stories of stuff that had gone on there. There was a time where something peculiar happened and the tape went into a strange shape on the tape machine, like a pyramid.”
Sessions were dictated by Shields’ habit of sleeping long into the day and working through the night. “When it came to doing all the vocals, Kevin only had about two hours sleep a night,” remembers Ó Cíosóig. “That’s where the weird, broken lyrics come from – this dream state of the language itself being twisted around and placed in a different space.”
Paranormal activity? Fugue states? There’d be more of those to come. But for now, despite such otherworldly conditions, the music of Isn’t Anything was surprisingly gritty. “It was purposefully raw,” acknowledges Shields. “We didn’t add compression or reverb to the vocals. We kept to single takes. The idea was, it’s just us doing what we do – without trying to be something that we’re not.”
“People weren’t prepared for Isn’t Anything,” says Jeff Barrett, then a publicist for Creation. “I went up and down the country with the Valentines. I remember a gig at Nottingham Trent Poly where they were phenomenal. It didn’t feel necessarily year zero, it didn’t feel like scorched earth, but I knew it was going to be a big record. It put a fire up everybody’s arse. There was some good British noise bands. You could go see Godflesh or Jackdaw With Crowbar. Loop were doing their thing. But there was something different about this. The Velvets weren’t the reference point. It was contemporary.”
While Isn’t Anything was an exciting artistic breakthrough for MBV, over the next year the band found the pressure mounting. Shields recounts two failed attempts to record follow-up EPs during early 1988. Domestically, meanwhile, his relationship with Butcher was also beginning to unravel. “At that point, things were breaking down between us, I think,” she says. “We were living in this house together and we’d see each other – but be in different spheres. Loveless is called Loveless not just because of our relationship breaking down, but because the whole process of making Loveless was difficult.”
Shields’ best work – then, as now – comes to him during the hypnagogic state when the brain transitions between wakefulness and sleep. Butcher recalls him writing songs at night on the sofa in the flat in Brixton, often nodding off with a guitar on his lap. During an American tour to support Isn’t Anything, a fan gave Shields a cassette of The Beach Boys Today! and Pet Sounds. “I fell asleep to it all the time,” he says. “It became part of my life. Maybe because of it, I developed a certain ideas about production.” Inspiration came from other sources, too: from his home on Brixton’s Tulse Hill Estate, Shields was exposed to a vibrant mix of gospel, reggae, ragga and – crucially – hip-hop. These various factors began to coalesce, towards the end of 1989, into a follow-up to Isn’t Anything. The making of Loveless has been the subject of much conjecture and myth-making over the past 27 years. Joe Foster, then an ally at Creation, attempts a definitive take on what went down between September 1989 and January 1991. “There are all kind of stories. Some of them make it look like Kevin was an Orson Welles-like genius. Others make it look like he’s a stoner, just useless. Neither of those things were true.”
What Foster leans towards is a kind of third way, where Shields’ creative vision for Loveless was effectively frustrated by bad luck, administrative ineptitude and the band’s own slow, meticulous working practices. The experiments Shields and Ó Cíosóig conducted in South Kensington during June and July, 1989 initiated a shift in Shields’ attitude to the possibilities of sound. Among the songs they worked up was an embryonic version of “Soon”, which would later lead off the band’s “Glider” EP. In September, the band decamped to Elephant Studios in Wapping, south London, for an eight-week period where, Shields claims, “we put down about 20 songs.”
Their relationship with Alan McGee’s Creation label, however, was faltering. “They were penniless, they couldn’t afford £1,000 to do the next Felt record,” says Shields. “They knew we were slow and decided there was no point putting us in an expensive studio. They found these good deals, but that meant the studio wasn’t looked after properly or it was run by weird people. At Elephant, we worked at lot at night and the studio owner was always hanging around. He told us he was hiding out as MI5 were after him. The tapes were confiscated three or four times, because Creation didn’t have the money to pay the bill. That characterised Loveless . Then Colm got really ill.”
“I was going to be evicted from my squat,” says Ó Cíosóig. “I didn’t have a new place. Creation couldn’t even afford £300 deposit for a flat. I’d go to the studio and then as soon as I left, I’d walk the streets looking at places to squat. This was November, it was cold, and I’m out walking the streets. All that got to me. I had this nervous breakdown. I was able to function mentally, but my brain-to-arm muscle control mechanism stopped working. I managed to get it together for a couple of songs – two songs on the record have live drums. ‘Only Shallow’ and ‘Come In Alone’.”
“It was like a fucking meltdown,” recalls Shields. “So then we got the idea that we would program the bass drum parts and he’d just play the hi-hat and snare.”
“The initial process of doing drums was very lengthy,” says Debbie Googe. “You would turn up every day and not really do anything because Kevin and Colm were tuning a drum. You lock into that. It becomes what you do. A lot of time goes by. We were all perilously close to losing our sanity at a certain point. For me, I guess, my sense of self-worth got a little low at times. I wasn’t doing an awful lot.”
“It felt like ploughing through mud,” says Butcher. “Kevin was going through such a lot. I would swan in and out when I was doing my thing, whereas he was there all the time, dealing with everybody, with Alan McGee and the engineers.”
Even now Shields shudders as he recalls the perceived intransigence he encountered firsthand in recording studios. “When we recorded ‘Glider’, I remember the guys at the studio saying, ‘You guys are out of your mind, what you’re doing.’ At another studio, one of the engineers wanted to run a pizza place, the other one wanted to move into advertising.”
“Kevin had a vision, we could all see it,” adds Ó Cíosóig. “We needed a proper studio from the get-go that didn’t break down, where there were no faulty channels and no crap going on. We were firing engineers all the time. We didn’t do things normally. They’d be freaking out. ‘That frequency, 4hertz, is distorting! You can’t do that!’ ‘We don’t give a shit about your fucking 4khtz! It sounds good. So what?’ They couldn’t get the weirdness of the record, the warpiness. It didn’t help when you had somebody sitting in the corner looking at you like a freak.”
“I used to really love watching Kevin creating his various sound booths in various places – his little blanket tents,” remembers Googe. “He would construct these things out of foam and blankets and God knows, these crazy little shanty towns inside the actual studios.”
Aside from Ó Cíosóig’s work earlier on, Shields recorded much of the album alone. Butcher recorded her vocals late in the process, at London’s Protocol and Britannia Row studios between May and June, 1991. “Kevin would give me a guide vocal and I’d make up lyrics for it,” says Butcher. “He might not be singing real words, but it would sound like something to me so I would write down what I thought he had sung.”
In February, 1991, the “Tremolo” EP brought into woozy focus Shields’ gifts for crushing sonic power and delicate vulnerability. One track, “To Here Knows When”, appeared on Loveless, when the album finally appeared in November. “I always thought Loveless was a really great pop record,” says Googe. “Kevin has got a really strong sense of melody that people don’t always pick up on. People talk about how he reinvented guitar – which is true – but actually the reason it works and why people remember it is because you do go away whistling these little hooks.”
“How many studios did we work in?” says Shields. “25, I think. It nearly sank us, to be honest, but it didn’t quite. It was just a lot of bad luck. Some people, they would get into a situation like that and then stop to regroup. That’s the smart way to do it. Otherwise you use too much energy and it slows you down. Don’t just plough through hell.”
HAD it ended there, Loveless alone would have granted My Bloody Valentine an unshakeable place in rock history. But the protracted process that led to its follow-up proved the band unable, in this instance, to play the cards they had been dealt. “I don’t know what the hell happened,” reflects Bilinda Butcher. “I look back and think, ‘God.’ I mean, that was really mad.”
The plan, everyone now agrees, seemed sensible at the time. In 1992, My Bloody Valentine signed with Island Records. Shields bought a house in Streatham and began building a recording studio at the property. “We did it really fast,” says Shields. “We got the house in January ’93, paid for it in March, we had the studio finished in June. Then the desk died.”
“We didn’t understand all the technical aspects of wiring a studio,” admits Ó Cíosóig. “Problems with electricity, tones, frequencies. It took months to try and figure that out; engineers were scratching their heads.”
A second desk proved to be equally problematic. Meanwhile, Island proved unwilling to help the band recoup their outlay. Shields estimates they lost a year. There were other considerations, too. “The house was full of madness,” admits Googe. “We smoked way too much weed. It was like the Partridge Family on acid. It was quite a mad scene. And then there were the chinchillas. I think Kevin bought one as a present for Bill. They thought it might be lonely, so they got another one. Then, like rodents do, they bred. At its peak, I think there were 13 or 14 chinchillas and they had the whole of the upstairs floor.”
“I don’t know what kind of pressure Kevin must have been under to follow up Loveless,” admits Butcher. “But a lot of songs got written there and eventually things were recorded there. That was a spooky place too, I have to say. There were some weird things going on. Both Colm and I saw this apparition like a hooded monk hanging out round the tape-machine room. Kevin saw all sorts of stuff there. He was going on a voyage of I-don’t-know-what while he lived there.”
“I started getting into serious mind meditation shit after we finished the [1991] tour,” explains Shields. “I read a book by Terence McKenna about using psychedelics as a way to explore the mind. I started experimenting on myself. I’d close my eyes and visualise a cow, for some reason. Then I realised I couldn’t just see the cow, but pass around it. It was solid. That led on to an infinite amount of experiences. I really looked forward to having my own time when everyone went to bed. I’d sit there, close my eyes and trip out. In a very short space of time, I was flying around this solar system: my imagination.”
Shields admits that the music made during this period was essentially “lots of ideas… we were trying not to write songs in a normal fashion. We were listening to a lot of drum’n’bass. We were experimenting with vibrations – how when something’s really distorted it shakes as well and that creates a rhythm. But we lost momentum. We were all right to make a record in our heads, and excited by the studio – but somehow it went a bit sideways.” “There was work done,” adds Googe. “But we were dysfunctional, ridiculously slow. Every day, Colm would get up and say, ‘Today’s the day we’re going to make the record!’ Then Colm left. I really missed him! We were always up first and we’d sit and have our coffee together in the morning. Then I left. I’d driven over to Island to deliver a tape of the Wire song we recorded [“Map Ref 41°N 93°W”]. It was a Friday evening and as I was driving back to the house, I thought, ‘For my own sanity, I can’t go back.’ So I went back to my flat and phoned Kevin. That was late 1997, I think.”
“I moved back into my council flat in Brixton,” says Butcher. “But I wasn’t leaving, I was there waiting, anytime, to do whatever we needed. But after we all left the house, I think Kevin felt a bit abandoned.”
ONE regular visitor to Shields’ Streatham home during 1998 was Primal Scream guitarist Andrew Innes. In his home studio, Shields was working on mixes for Primal Scream’s new album, XTRMNTR . “At the time, Kevin wasn’t living a 24-hour day,” recalls Innes. “He’d get up at 6pm and work all night. But he’d work through the next day and go to bed at a different time.”
Shields’ involvement with Primal Scream lasted from 1998–2005, where his talents were felt both in the studio and the live arena. “In the studio, he’d say, ‘What do you want me to do?’ We had these little phrases, descriptions of what particular sound we wanted. ‘Can you get that one where you’re cutting down the trees?’ He’d hit the pedals and it would sound like a chainsaw. Live, there were certain tracks on XTRMNTR that were aggressive; we’d hold him back and hold him back and then give him the nod, ‘Kev, hit that button.’ He’d take it to the next level of intensity and pain. There’d be some little kids down the front and they’d be smiling and by the time Kev had played three songs, you could see they were thinking, ‘This isn’t actually very funny.’ It was brilliant.”
Brian Reitzell, meanwhile, speculates that Shields was financially “trapped in Primal Scream. It’s not such a bad trap, but still a trap.” As drummer for Air, Reitzell had met Shields on tour in Japan in 2001. A few years later, he approached Shields in an altogether different guise: as the soundtrack producer for Sofia Coppola’s new film, Lost In Translation . Reitzell remembers making three, week-long Transatlantic trips to Shields’ studio in Camden between November 2002 and March 2003. Reitzell describes a familiar pattern for these sessions: “We had a different engineer each time because Kevin would burn them out. We would show up at the studio and the engineer had to be there at eight o’clock, but we wouldn’t roll in until 11 at night and then we’d work through until nine or 10 in the morning.”
Along with insight into the recording process, Reitzell also also offers a tantalising glimpse of material that didn’t make the final cut. He outlines trips to a Camden shop selling instruments from around the world and an attempt to “put an e-bow on one of these weird Asian stringed instruments” that was ultimately ditched. “Kevin and I also did a cue with Martin Duffy on electric piano and Duncan McKay playing layers of trumpet – both from Primal Scream. It was a full-on Miles Davis/Gil Evans trip. I loved it, but it didn’t make the film.” They also recorded “three proper songs” – although only one, “City Girl”, appeared in the film when it opened in September 2003.
Critically, Reitzell says that the success of the Lost In Translation soundtrack allowed him greater financial latitude on his next film with Coppola, Marie Antoinette , for which he “grossly overpaid” Shields to do two remixes, facilitating his economic independence.
It is possible to view Shields’ work with Primal Scream and Brian Reitzell as a process of rehabilitation after the Valentines’ split. In the immediate aftermath, Shields undertook remix work – for artists ranging from the Pastels to Placebo, Mogwai and Yo La Tengo. He also quietly continued to work on the band’s long-gestating fourth album. “I would bump into Kevin here in Camden on his way to the studio, doing the album,” says Googe. For Shields, though, a turning point came in 2005, when Patti Smith invited him to participate in The Coral Sea project at London’s Queen Elizabeth Hall. “I never really used the tremolo arm after the last recordings I made in 1997,” says Shields. “I can’t add that way of playing on as an effect for people, so I developed a whole different approach with Primal Scream. When Patti asked me to play Meltdown, I got my tunings from the My Bloody Valentine days and a bunch of guitars and we improvised. Patti really inspired me to start playing guitar again like I used to.”
Paul Weller witnessed first-hand the rejuvenated Shields when the two collaborated together on a track, “7 & 3 Is The Striker’s Name”. “When he came down to here to the studio, be had a big bag of effects and pedals,” he tells Uncut . “They were all buzzing and cracking, almost on the point of explosion. I watched Kevin during that session and I still can’t really figure out what it is he does. But I know something – only he can do it.”
FOR the other members of My Bloody Valentine during their extended hiatus, time passed in different ways. Colm Ó Cíosóig began playing with Mazzy Star’s Hope Sandoval. Debbie Googe “floundered for a while; I’d been ‘Deb in My Bloody Valentine’ for years and I didn’t know who I was” before she formed Snow Pony with her then-partner, Katharine Gifford. Bilinda Butcher, meanwhile, opted out of music to raise a family. “But I never gave up faith that it was going to happen again,” she says. The band are all individually keen to stress that they never actually fell out with one another – “They’d had enough of me, but they didn’t hate me or anything,” laughs Shields. In 2006, they received an offer of $300,000 to play the Coachella festival; “it put the idea into our head,” says Shields. In 2007, they decided to make a go of it, booking five nights at London’s Roundhouse. Coachella, meanwhile, upped their offer to a million dollars – but, according to Shields, ”it was too early, we’d literally just got it together in time to do those Roundhouse gigs, so even for a million dollars we couldn’t do Coachella.”
“The first day of practice, it was like I’d gone to the toilet and come back in,” remembers Googe. “There’s a lot of shared history and familiarity that comes in to play in those situations. But we’d had eight, 10 years away from each other. We chose to come back.”
On June 13, 2008, My Bloody Valentine performed in public for the first time in 16 years during two live rehearsals at the ICA. An extensive world tour was announced, to run through the summer and autumn months. And in the middle of all this sudden, unexpected activity Shields mentioned that the band’s long-gestating third album was at last near completion.
Finally, after 20-odd years of prevarication, false alarms, teases and disappointments, m b v was released through the band’s website on February 2, 2013. Ó Cíosóig describes the album as “closing up a chapter. A lot of the music was from back in the time, the house, pre-implosion. There were some great songs there.” Shields reveals that he began writing the oldest track on the album, “New You”, in April, 1994 “the night after I heard Kurt Cobain killed himself.” Another song, “Only Tomorrow”, was only slightly younger – dating from around 1996. “I went back into the studio and recorded some drums over the drum loops to give it a bit of character,” says Ó Cíosóig. “Give it a bit of push and pull.”
“The m b v record has a theme, for want of a better word,” says Shields. “It’s about change and death and what was happening in the world, as I saw it in the late ’90s. Nostalgia’s part of it. Funnily enough, it all made even more sense in 2012.”
Five years later, and Shields seems confident that a fourth album will appear soon. Early forays in the studio began in Ireland over summer 2017. “Kevin was working on drums with Colm,” says Googe, identifying an all-too familiar pattern in My Bloody Valentine’s recording processes. There was lull, meanwhile, as Shields concentrated on the new vinyl editions of Isn’t Anything and Loveless and a collaboration with Brian Eno, called “Only Once Away My Son”.
“I know he’s got some stuff pretty much nearly ready for me,” says Butcher. “I’m really looking forward to it. It feels really exciting. Kevin’s working on songs in the way he always does. He’s always got millions of songs going round his head.”
“I’m keeping things clear in case I’m needed for Valentines stuff from April,” says Googe. “Certainly, from June on I think we’ll playing live. Between June and August, stuff will happen.”
“Everything’s going really well,” adds Ó Cíosóig. “I’ve been recording with Kevin recently. He’s got his studio, I’ve been helping out. The trip. It’s now or never, I guess.”
“In the last few months,” says Kevin Shields, “when things have got quite tense with the remasters, I’ve pulled back from it. I really want to make this new record and I don’t want to get burnt out. You see, I don’t feel like I’m finished. I will be exploring things until I’m dead. I feel like if I don’t do this myself, no-one else is going to do it.”
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2017.05.16 00:59 BCB75 [Gear] Got a studio 15, so I figured I'd take my first family photo... Of my electrics at least.

Pictured here are my guitars: 2002 highway 1 strat, AVRI 62 jazzmaster, and 1985 les paul studio. Amd my amps: 1965 ampeg reverberocket, 1964 fender princeton, 80s marshall studio 15 (haven't dated it yet), and my orange tiny terror w/ pc212 cabinet. The tiny terror will probably go now that I got this marshall. I've wanted one for years, and this one popped up so I snagged it.
Any questions, I would be glad to answer, I'm a huge gear nerd. Clips I can do, but I only have my cell phone mic at the moment. Hopefully I can find my usb mic somewhere, which admittedly isn't a ton better.
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2015.07.25 23:50 J-U-N-K [GEAR] Help identifying this old guitar?

Hey everyone,
I was cleaning out my late mother's house, when I found this old guitar, which is in pretty rough shape. The only manufacturer's mark is a sticker on the head which has worn off, and even after taking off the pickguard and neck, I can't find anything like a maker's mark, or even a serial number.
It looks like a kid-sized (the body is about 1" thick and about 16" long) knock off of a Fender Jazzmaster. It has a pickup selector (which has been broken off) and a spot for a whammy bar. She grew up a military brat, so I can't be sure where it was purchased, but with her age, a manufacture date of the late 50s-1960s would make sense. There are very faint letters on the sticker, but three or four different people have taken a look at it and can't make anything out. I took it to my local music store (shout out to Walpole Music in Massachusetts!) and they couldn't identify anything, even after looking in the Guitar Guide.
I know it's almost certainly a department-store guitar, but I think the mirrored pickguard looks super-awesome, and it would be great if I could get to know some history of it. I'm not sure if it can be repaired, but I'd love to get to play it as well.
I've created an album here with pictures of the whole guitar, along with closeups of the few unique features (the faded sticker—along with the letters I think I might see—and the unique looking knobs.)
Thanks everyone for checking this out, and I'd appreciate even the slightest of clues on this!
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2015.03.28 12:28 ztikmaenn [GEAR] A Warmoth guitar I've had for a little while now

So it's been about a couple of years since my father and I assembled the guitar, but admittedly I've been too lazy to take any pictures... Anyway! Here is the guitar The reason I chose to go with a custom guitar was I was torn between a P90 Gibson SG and a Fender Jazzmaster, and thought this would be the best solution.
And here are some details - "Vintage White" body with a parchment pick guard - Gold hardware - Mahogany body and neck - Ebony pickguard (figured it might brighten the sound a tad) - Tune-O-Matic bridge - Fat Gibson-like neck (Boatneck profile) - Lollar P90 pickups (standard in the neck, overwound for the bridge)
So the guitar is pretty much my favourite to date. It's got a boxy and woody sound when unplugged, and yet it's simultaneously bright and warm when plugged in (Is that possible? Perhaps my terminology is off). The neck pickup has a really bell-like sound to it, and the bridge is not harsh or grating at all. Lollar makes em good :)
I opted for a larger neck profile to mimic a Gibson, and love the size. It's comfy for chording, and not obtrusive to play leads on. It's divides opinion too. I brought it in for the folks at the local music store to check out; the blues guy loved it, while the metalhead just commented "wow, that's a thick neck...".
Personally I love the look of dark mahogany neck complimenting the cream and gold colours. I took some inspiration from this look
Basically, if you're thinking of getting a Warmoth, I'd say go for it. Thanks for looking!
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2014.04.02 20:34 tabledresser [Table] IAmA: We are Band Of Skulls AMA!

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Date: 2014-04-02
Link to submission (Has self-text)
Questions Answers
Hey guys, exactly how long did it take for Matt to grow his tremendous beard? And Russell…why did you cut yours? Its the same beard, we just lease it.
I love your sound and it is very distinctive. Even with the progression of Himalayan I can tell I'm listening to "Band of Skulls". Who would you consider your favorite artist comparison? On the flipside...are there any bands that folks say you sound like that you don't agree with or care for? We dont really compare ourselves to anyone but its reassuring to know that bands like QOTSA are true to their roots and still making highly individualistic music now.
New album is sick!!! I'm a huge fan, saw you guys in austin about a year ago, you guys killed it! Matt you are a beast! What new bands do yall listen to? Broken Hands, Fat White Family, Drenge, Anna Calvi.
Hey guys! First of all, thanks for your wonderful performance last night at Tivoli. I hope you enjoyed it as much as I did. I feel privileged to have seen you there before they’re closing the place down. So this question is actually for Emma. You're also an abstract artist and I find your work very fascinating (Rorschach, Rubens, Fazzini_by_Pericle_Fazzini_in_Vatican_Museum.jpg), Hieronymus Bosch, Goya, it's all in there if I look at at long enough). I know your responsible for all the album art. Can you tell us something about the art on Himalayan? Yes we used the sound waves from the song Himalayan and fed it into a computer program to create the cover. It fits with the other album artwork and looks like this record sounds.
I'm really looking forward to seeing you guys perform at 2000Trees festival later this year! What's your favourite festival and why? Favourite festival, really enjoyed our first Bonnaroo a couple of years ago but playing home festivals is great as they were the ones we went to do as drunk children.
Favorite song to perform live? Asleep At the Wheel, opening track of the show
Where is the place that you guys always wanted to play? Hollywood Bowl.
Crazy or creepiest moment while touring? The shamrock shake in LA.
(it was an earthquake)
Hendrix or Page? Are you planning coming to mexico? Any predictions on the world cup (brazil)? Bit of both please. we hope to come to Mexico again soon.
Emma, do you have any art at the gallery downtown here in Victoria BC? My room-mate had heard that you've had some stuff there whenever you're in town for a gig. Also, do you guys prefer playing for big arena crowds or smaller, more intimate venues? I don't but maybe one day! We like all sizes of venue, its great to have the crowd a foot away eyeballing you as well as the big festival stages where you can maybe make a few new fans of people who've not heard of you.
I saw you the first time when you opened for QOTSA in Milan, I loved it! I was awestruck. That day you also performed for the first time a song, which one was it? I can't remember the title. How was opening for QOTSA? How's Homme? I'll see you in Rome. :D. The Queens are badass gents. don't mess with the Homme.
Why did you choose to play Bloomsbury Ballroom? And are anymore UK tour dates coming other than Sonisphere? It's fun to play more unusual venues, the ballroom was just that. more dates in the uk later this year. fo sho.
Hey, loved your gig last week in Manchester! Also love the new sound on the Himalayan album, although I seen a crappy review in The Sun. What was the inspiration behind it, and what do you think about the criticism? We make music we like...
I know you guys are coming to Canada, and have announced few tour dates. Any chance you'll be playing Ottawa? We love Ottawa, i hope we can come back.
What inspired you to make the song "I feel like ten men, nine dead and one dying"? Was the saying of my great grandad. russell.
Hey guys, first off, hope the tour is going great, really trying to catch you this time around! My first question is for Russell: Your choice of amps strikes me as pretty unique, I don't think most people would think of using a Fender Vibro-King for as heavy a sound as you get in a lot of songs, especially when paired with a Jazzmaster. Is there anything in particular that drew you to this choice, or was it more about what was available? My next question is to everyone: Is there any advice you can give to aspiring musicians who want to pursue any sort of career in the music business? Cheers, D-M-N. It's just that. an unusual choice, but i graduated from a deville. a blues sound made heavy. elvis costello was the jazzmaster.
What type of other guitars besides your white Gretsch do you use in the studio? Also, the new album sounds great! There was a vintage strat that played itself.
How did you guys first get recognised? Playing at our clubnights in Southampton/London.
How would you say the albums are different and do you think there is any reason for these differences? They are always a snapshot of us at a point in our lives.
Favourite band that nobody will have heard of? The Peddlers.
I know you're all songwriters, so you all probably contribute to the final version of a song, but is there one of you who tends to bring more ideas/riffs to the table? Not really. but sometimes you can't help finishing a song.
Hey, I saw you guys at Shepherds Bush Empire last week, thanks for the awesome night :) My questions are: Do you prefer playing old or new stuff at gigs? And Emma, what's your favorite bass? A mix of new and old. fender P bass with the antigua paint job.
Do you really like Miracle Whip deviled eggs? Its all we eat.
You guys are coming to Atlanta for The Shaky Knees festival. How can I get cheaper tickets to just see you guys? Himalayan is awesome. Pretty much all I've listened to since it came out. Cheeky. Be nice, you might get a guest list.
What's your favourite thing to do in southampton? Loved the Joiners gig! Play a hometown show.
If I make the drive to see you in Toronto or Montreal is there any way I could get your autographs? We try to be around after the shows, so come and say hi.
Can you reschedule your show at First Ave in Minneapolis? I have a final exam 270 miles away and will be unable to attend. Ask Prince.
I can't order sweet and sour chicken from a chinese restaurant without humming the song for the next week (not that that's a bad thing). So my question is what's your favorite chinese food? Won ton damage.
Cheers, guys. I recently acquired Sweet Sour and it was excellent. The hard rocking songs were great, but the slower, quiet ones really surprised me at how well balanced and heartfelt they were. Kudos on getting both ends of the spectrum so perfectly. I usually add a few albums to my collection every couple months, to get to know new music, so I listen to it intensively, it's a bit of a crap shoot. This last batch has been excellent and you guys have been a great part of making my musical life happy and fulfilling. Thank you. I'm about to go into Baby Darling blahblablah and now I'm finding out about Himalayan! Good to know you're still hard at work. So, a question... hmmm... What's the best fast food you can get in Southampton that makes Southampton proud? Mexigo / Sprinkles (ice cream parlour)
I can't WAIT to see you guys live in Toronto this month! I've been a fan for a while, but this will be my first time seeing you guys! What's your favourite drink? You buying?
What part of the world have you enjoyed playing the most? The places we've never been to before.
Hi guys! You make some pretty awesome videos, my personal favorite being The Devil Takes Care Of His Own. It's really cool that bands like you guys still put effort into making great videos, despite it being way less of a profitable marketing medium. What are/were some of your favorite music videos? THat one was filmed at the old BBC TV building.
How tall is Emma? She seemed to dominate the stage at Lollapalooza 2012. More seriously, does touring with huge acts such as Muse feel intimidating, encouraging, etc. ? Thanks for the AMA, and for a great new album! Tall enough. its a great way to learn about playing bigger shows.
Hi Emma! Who is your favorite painter? Francis Bacon.
Your new album really surprised me, you guys are great! do you guys have preferences in instruments brands? FendeGretsch.
Hey, Saw you at southampton guildhall a few years back and again last week at the London Shepard Bush Empire, (both were incredible!) Is there any chance of you coming back to play in Southampton again? Yes. we are working on it.
I've seen you twice- once with The Black Keys and the other at Leeds 2012! Of all the bands you've played with, were there any that you were seriously starstruck meeting? Not yet. maybe a stone or a beatle.
Did anyone change up their gear for this album? Some Gretsch drums.
Russ - favorite guitar pedal? The next one.
Cadburys Creme Eggs...'How d'you eat yours..'? Inhale.
What's the mandatory item for each of you on your tour riders? Bowling balls.
Are you planning on playing at the top of the Himalayas anytime soon? No. but outer Mongolia is nice this time of year.
off, Emma - you signed a birthday card for me last year and I just wanted to say it was such an awesome present, so thank you for taking the time! Matt - I always think your drumming compares to Bonham, who do you think you take the most influence from? Buddy rich. and my dad. M.
off, I'm a huge fan. I've seen you guys in Philly (my hometown), recently saw you in Brooklyn at The Warsaw, and even flew to the UK to catch you guys in Brighton a few years back. 2 PART QUESTION. Russell, who are some direct influences to your guitar playing? I am a music teacher and frequently use BOS songs to exemplify the usage of space to create a heavier sound, as well as a means to get kids into some modern rock music with some nice blues-esque leads. PART DEUX. Can you guys put me on the GL for the Union Transfer show in Philadelphia? Hendrix/GilmouGreenwood.
What's your favorite song on the new album? I must say I've really started to appreciate , nej, outright love "Pull yourself together". :D. It's "get yourself together" we like it too.
Would you like to come to Portugal someday? Do you know any word in Portuguese? We'd love to. and spain. cerveza?
What drum kit do you use on Tour? And can I get on the guest list for the Glasgow show? Gretsch Brooklyn
Is Emma planning on doing any more music with The Moulettes? I started listening to them thanks to her and I fell in love. They are a very talented band and have a new record out soon too. I guest on a track this time too.
How was it playing at the Rocking the Daisies festival in Cape Town 2011? was the first time i saw you live, hooked ever since! You guys know how to party. big hangovers.
I remember back during Baby Darling Doll Face Honey you guys played in Allston at this bar. Great set and you guys finally proved to a friend of mine that Jazzmaster's can do anything. My question: Any plans on playing any songs from your "Fleeing New York" days? Scandinavia was a great song! You never know. we play all our tunes.
Oo another - whats the distortion on the chorus of Death by Diamonds and Pearls when played live? The loudest one.
New album sounded like it was produced by Dan Auerbach or something... That isnt a question, it was however produced by Nick Launay.
Last updated: 2014-04-06 18:06 UTC
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