For information about how to use this forum please check out forum help and policies.
If I had to guess anywhere from 3-5K and maybe even higher ?Quote
MingSubu
Wonder how much the shop was charging for it?
All those musicians who passed it up, what nonsense. You should pick gear with your ears first, then your eyes. Unless the shop was charging a crazy amount.
Quote
dcba
Pardon the heretic question but with today's studio tehnology is it really useful to use such great sounding guitars and amps. The possibility of fine-tuning guitar signals are so vast that to me tarcking with a good reissue guitara dn a good reissue amp are more than enough...
Quote
Spud
Yes it does on some tracks ...though I suspect the then ubiquitous Boogie was used on that occasion.
The Boogies always cover the Fender clean sounds rather well....though nothing sounds quite like an old Tweed amp when wicked up a bit.
I love the guitar sounds on B&L.
Quote
Spud
My memory's not that good I'm afraid ;^)
But I think those sounds could be conjured from a variety of Fender based amp designs.
Quote
DandelionPowderman
Keith's guitar sound on some of the tracks on B&L reminds me of his sound on Black And Blue (Melody).
Quote
KoenQuote
DandelionPowderman
Keith's guitar sound on some of the tracks on B&L reminds me of his sound on Black And Blue (Melody).
Which guitar on B&L is Keith?
Quote
DandelionPowdermanQuote
Spud
Yes it does on some tracks ...though I suspect the then ubiquitous Boogie was used on that occasion.
The Boogies always cover the Fender clean sounds rather well....though nothing sounds quite like an old Tweed amp when wicked up a bit.
I love the guitar sounds on B&L.
They got the Boogies in 1975, so I'm not sure if they had time to use them on the Black And Blue-sessions. Slave has a similar sound, though.
Some of the songs (Fool To Cry and Cherry Oh Baby, if memory serves) were recorded in 1974.
When did Santana recommend the Boogie to Keith - it must have been summer 1975?
Quote
MathijsQuote
DandelionPowdermanQuote
Spud
Yes it does on some tracks ...though I suspect the then ubiquitous Boogie was used on that occasion.
The Boogies always cover the Fender clean sounds rather well....though nothing sounds quite like an old Tweed amp when wicked up a bit.
I love the guitar sounds on B&L.
They got the Boogies in 1975, so I'm not sure if they had time to use them on the Black And Blue-sessions. Slave has a similar sound, though.
Some of the songs (Fool To Cry and Cherry Oh Baby, if memory serves) were recorded in 1974.
When did Santana recommend the Boogie to Keith - it must have been summer 1975?
There's pics of Wood and Richards backstage on the 1975 tour with a Boogie -this is most likely at MSG and with Santana's Boogie. They also could have heard them through Pete Townsend and George Harrison, who had Boogie's in 1975. But by all accounts and most importantly from Randall Smith, the owner of Mesa, who said the Stones ordered their first Boogie's especially for the El Mocambo gig.
It is unlikely Slave is recorded through a Boogie, but during mixing in 1980 they could have routed Keith's guitar through a Boogie, or added quite some compression and drive from a good compressor.
Mathijs
Quote
open-g
C'mon
just buzz off extending that Boogie talk in here, please.
A vintage Fender Wide panel tweed pro is quite a simplistic amp. which happens to sound darn cool.
2 6L6 power tubes, one tone-knob! and a 15" speaker!
the boogie's that Keith played were snarling heavy monsters hidden in a small package.
with more bells and whistles than some new fangled moddeling amps of today.
guess why Keith didn't order his Boogie in the studio for B&L.
Quote
open-g
Subject line -- please read the Subject line. thanks.
Quote
open-g
Subject line -- please read the Subject line. thanks.
Quote
DandelionPowdermanQuote
open-g
C'mon
just buzz off extending that Boogie talk in here, please.
A vintage Fender Wide panel tweed pro is quite a simplistic amp. which happens to sound darn cool.
2 6L6 power tubes, one tone-knob! and a 15" speaker!
the boogie's that Keith played were snarling heavy monsters hidden in a small package.
with more bells and whistles than some new fangled moddeling amps of today.
guess why Keith didn't order his Boogie in the studio for B&L.
You're saying that it didn't work nicely on Black Limousine?
I wasn't talking about the Boogie in the first place, though. I compared Keith's sound (on All Of Your Love in particular) to the sound he had on Melody.
Which amp do you reckon he used on Melody?