Tell Me :
Talk
I stand corrected on the mass of the string -you need higher tension for a string with more mass to get it to the same pitch as a lower mass string. My reasoning was when two strings are at the same pitch (for example low and high E string), it is the amplitude of the wave defining only the volume, and the length only the pitch. But you indeed must take into account that the tension on the low E string is much higher than on the low E string due to its mass. So, the pitch actually is defined by density, tension and length.
Mathijs
As Keith said, "I make them all sound the same" or something like that.
The player is a big part of it all and what tone they tend to dial in with various gear as well.
Expectation effects exist as well.
I am very aware of expectation effects after reading some sax players beliefs about various gear they use.
Vibrations of sax materials don't matter that much as it's the air vibrating inside the sax that is responsible for the sound and vibrations of sax materials are an insignificant contributor to the tone according to most research.
But, because the sax player can feel the material vibrations, a fair few sax players believe in material vibrations affecting their tone and basically what they are experiencing are expectation effects more than anything else.
Edited 1 time(s). Last edit at 2012-02-16 15:30 by howled.
sure , you can hear the whammy bar on DLS. especially in the outtro
Yeah, but it could have been a Bigsby as well, but I agree.
not that i've seen a bigsby in real life ( only in my dreams) surely it can't vary the note more than a semitone, , so i agree again as well !
In theory, break angle does not affect string tension. Two strings with the same mass (gauge) at the same pitch must have the same tension.
However, it does affect the way the string feels. A stronger break angle will make the string feel stiffer and harder to bend.
Break angle has some effect on tone and volume too. More angle means tighter contact between the string and the bridge saddle/nut, i.e better transmission of vibration to the body.
Adding mass to the headstock increases sustain because it makes the headstock more resistant to vibration. A less vibrant anchor point means more energy being reflected back to the string.
What I like about guitars is that there is theory, and there is actual practice. I still find it amazing that when you play five Tele's or Strat's they all play different, have a different feel, and sound different. One guitar seems to fight back, and the other plays just smooth like butter.
I have had literally hundreds of guitars, mostly as I was trading/selling them, and more and more I started to find that I am not a big too fan of vintage guitars, and that current production guitars really are the best instruments ever made (maybe except for the pick-ups).
I just picked up a black Fender Roadhouse Deluxe Strat for 250 euro. Shining new, with plastic still on it. It is just an amazing instrument -it plays fantastic, I love the smooth urethane finish on the neck, the 9" scale makes it play like butter, and the Texas Special pickups sound fantastic. I have never been a big fan of Strats, but this roadhouse might become a favorite.
Mathijs
Hmm. I'm fairly sure it's some outstanding slide playing, not whammy.
No. His Strat with the Stones was a standard 63, I believe his 80's and 90's Strats weren't Fender but Blade and Vigier, a French brand. But I have no details.
Mathijs
Excellent description z, that fits my experience perfectly.
I agree with Mathijs too that the guitars being manufactured these days are awesome. I too have played Fender Squire strats which play and sound as good as the vintage ones for much much less money.
What I love about the vintage instruments is the pickups, the relatively exotic woods and the fact that most of 'em have been broken in to the point where they have found their equilibrium. They become more consistent and predictable and the wear and tear tells stories and even inspires note selection to a point. peace
Merry Christmas!!!
Just goes to show no two instruments are alike. You have a point about old growth timber though...
Chromed steel. In 1972 he used glass and chromed steel, in 1973 chromed steel only.
Mathijs
It's not completely sure. There are conflicting statements by Taylor, and varying stories on which guitars got lost. Story line is that Taylor had two bursts when he joined the Stones -the Bigsby burst, and a 1958. He used the 1958 as back up to his SG, and can be seen on some rare pics of the England 1969 gigs, and it is the Burst on the cover.
Then the conflicting stories begin: there is a story he forgot one of his guitars on a train platform during the 1970 tour, there's a story he sold both Les Paul’s as he needed the money for whatever reason in 1971, and there was the burglary in July 1971.
According to Ted Newman Jones, he arranged half a dozen of Les Pauls (Bursts, Custom, Junior) for the Stones in late 1971 and early 1972 to replace the stolen instruments. Pictures of the 1958 Burst he used on the 1972 tour and later on in the early 1980’s does seem to show a different guitar than the 1958 one he used in 1970 –the burst was less faded, less yellow with more brown and red color to the top. But this is still not conclusive. For the 1973 tour he used Keith’s 1959 burst. He sold both LP’s in 1983 to fund a move to the U.S.
Mathijs
Talk about your favorite band.
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Re: Mick T's Guitars
Posted by:
Mathijs
()
Date: February 16, 2012 14:58
Quote
Naturalust
Yes Mathijs, I agree with you about the pickups and your general take on solid body electric guitars. When talking about semi acoustics and hollow-bodies the guitar body has a much LARGER contribution to the overall sound you will probably agree.
Not to be argumentative here but I have to call you on the string tension pitch thing though. A simple experiment will prove my point about mass (string mass) and it's effects on pitch.
1. Get one of those spilt BB sinkers for a fishing line.
2. Pluck any string on your guitar and note the pitch.
3. Now pluck it again and quickly clamp the BB sinker onto the guitar string. The pitch will go DOWN considerably.
String length is the same, pitch is lower because the string mass has changed. Its also why we have wound strings for guitars. The wound part over the top of the solid core is there JUST to increase mass so that the tension is relatively similar on all six strings, even though the pitch is obviously different and the string lengths are almost the same. Just like clamping the BB on the string.
The capo over the headstock seems like a good trick to me. Like I said earlier Fender (and others) have been doing this for year with the little hold downs, 2 or 3 of 'em usually. I am just anal about getting all the winds on the string, right down to the bottom of the tuner. I have argue with guitar makers over this effect but have proven that I CAN tell the difference, and I perfer a relatively high break angle over the nut. Same thing is achieved with the capo clamped above the neck, that's cool.
Guitars with slotted headstocks ALWAYS maintain the same break angle, regardless of how many winds you put on the string at the tuner. That's one of the reasons I really like that design on acoustic instruments. peace
I stand corrected on the mass of the string -you need higher tension for a string with more mass to get it to the same pitch as a lower mass string. My reasoning was when two strings are at the same pitch (for example low and high E string), it is the amplitude of the wave defining only the volume, and the length only the pitch. But you indeed must take into account that the tension on the low E string is much higher than on the low E string due to its mass. So, the pitch actually is defined by density, tension and length.
Mathijs
Re: Mick T's Guitars
Posted by:
howled
()
Date: February 16, 2012 15:28
Quote
MathijsQuote
howled
Les Pauls that are Mahogany/Maple do sound different to a Strat that is Alder/Ash/Maple even if they both have the same PAF pickup installed.
There is the Strat/Les Paul hardware and string tension/scale differences but even so,the Mahogany/Maple Alder/Ash/Maple wood difference does contribute.
There is also an attack and decay release difference with softer woods like Basswood having a slower smoother initial attack and harder woods like Hard Ash have a more immediate and snappier initial attack.
It's because the initial string vibration encounters different vibration patterns from harder and softer wood and the body vibrations do influence how the string vibrates through it's cycles from the initial string attack and it's decay.
The string is not vibrating in free space.
The vibrating string induces vibrations in the wood and these wood vibrations then feed back and influence the vibrating string and it's vibrations.
Different vibration patterns in different wood types will affect the strings vibrations in different ways.
Of course the choice of wood has a large effect on the sound of the guitar, no doubt about that. But I meant that I am not so sure I can hear the difference between a '50's ash Telecaster and a new, modern ash Telecaster -as long as the pickups are of the same high sonic qualities. I don't hear the difference between a '64 Strat, and a Custom Shop strat with mid-60's pickups.
Mathijs
As Keith said, "I make them all sound the same" or something like that.
The player is a big part of it all and what tone they tend to dial in with various gear as well.
Expectation effects exist as well.
I am very aware of expectation effects after reading some sax players beliefs about various gear they use.
Vibrations of sax materials don't matter that much as it's the air vibrating inside the sax that is responsible for the sound and vibrations of sax materials are an insignificant contributor to the tone according to most research.
But, because the sax player can feel the material vibrations, a fair few sax players believe in material vibrations affecting their tone and basically what they are experiencing are expectation effects more than anything else.
Edited 1 time(s). Last edit at 2012-02-16 15:30 by howled.
Re: Mick T's Guitars
Posted by:
Naturalust
()
Date: February 16, 2012 15:47
Yes howled, I will concur with you that the guitar body and wood does effect the dampening of the string. More of less sustain and more or less initial acoustic volume are somewhat determined by the whole of the guitar.
But as you also point out, the player is the biggest factor in the mix. His or her technique, style, soul (or joy as Mathijs says), finger strength and picking hand dynamics make a differnce big enough that we can hear it in most all different players, even if they are playing the exact same thing. Thank God for that. peace
Edited 1 time(s). Last edit at 2012-02-16 15:51 by Naturalust.
But as you also point out, the player is the biggest factor in the mix. His or her technique, style, soul (or joy as Mathijs says), finger strength and picking hand dynamics make a differnce big enough that we can hear it in most all different players, even if they are playing the exact same thing. Thank God for that. peace
Edited 1 time(s). Last edit at 2012-02-16 15:51 by Naturalust.
Re: Mick T's Guitars
Posted by:
Rory Gallagher
()
Date: December 20, 2012 17:51
Hey Taylor fans,
Have you got more infos about the Stratocasters Mick Taylor played along the years (year of Strat, type of pups, settings etc)?
For example, he played (brillantly) 2 strats during the Mayall concerts with blues legends in 1982, especially an Olympic white one with maple neck and black pups, do you know what Strat and what pups are they?
See here:
Other Strats:
By the way:
Source: [www.earlyblues.com]
Thanks in advance!
Have you got more infos about the Stratocasters Mick Taylor played along the years (year of Strat, type of pups, settings etc)?
For example, he played (brillantly) 2 strats during the Mayall concerts with blues legends in 1982, especially an Olympic white one with maple neck and black pups, do you know what Strat and what pups are they?
See here:
Other Strats:
By the way:
Quote
I know I’m mainly associated with the Les Paul but that’s not my favourite. My favourite is a Fender Stratocaster. I used to have an old one which I messed around with and customised, put different pick-ups on it but I lost it sometime in 1993 in Florida and I haven’t really ever been able to replace it.
Source: [www.earlyblues.com]
Thanks in advance!
Re: Mick T's Guitars
Posted by:
DandelionPowderman
()
Date: December 21, 2012 12:02
If You Can't Rock Me and Dance Little Sister surely must be Taylor on a Strat?
Re: Mick T's Guitars
Posted by:
straycatblues73
()
Date: December 21, 2012 15:16
Quote
DandelionPowderman
If You Can't Rock Me and Dance Little Sister surely must be Taylor on a Strat?
sure , you can hear the whammy bar on DLS. especially in the outtro
Re: Mick T's Guitars
Posted by:
DandelionPowderman
()
Date: December 21, 2012 15:23
Quote
straycatblues73Quote
DandelionPowderman
If You Can't Rock Me and Dance Little Sister surely must be Taylor on a Strat?
sure , you can hear the whammy bar on DLS. especially in the outtro
Yeah, but it could have been a Bigsby as well, but I agree.
Re: Mick T's Guitars
Posted by:
straycatblues73
()
Date: December 21, 2012 15:40
Quote
DandelionPowdermanQuote
straycatblues73Quote
DandelionPowderman
If You Can't Rock Me and Dance Little Sister surely must be Taylor on a Strat?
sure , you can hear the whammy bar on DLS. especially in the outtro
Yeah, but it could have been a Bigsby as well, but I agree.
not that i've seen a bigsby in real life ( only in my dreams) surely it can't vary the note more than a semitone, , so i agree again as well !
Re: Mick T's Guitars
Posted by:
z
()
Date: December 21, 2012 22:17
Quote
MathijsQuote
Naturalust
If you've ever had your string height artificially very high (away from the pickups) yopu will see that string vibration to body wood has very little effect in the sound of the notes on a Les Paul. Although I understand the logic in and tightly bound vibration path (all of them).
Well, it takes the discussion to a different path, but for the last couple of years I actually wonder how much the body wood and the string vibration actually influences the tone. I am starting to believe that with an electric guitar the pickups and amp play a very, very large part of the total sound. I used to be quite a collector and trader of vintage electric guitars, having owned more than hundred pre-65 Gibson and Fender guitars. Now, I own just a couple, and all of them are cheap Mexican and Japanese made electrics, but with very good pickups. Through my Boogie MK1 from ’77, I can’t tell the difference between an all original ’55 Fender Tele and my Mexican $400 Tele from the 90’s, with vintage ’57 pickups installed. My ’59 RI LP (which I sold) with a ’60 PAF and ’65 Patent No sounded better than any vintage LP I have ever played. So I am not too sure the body wood is such a contributing factor over the electronics and hardware anymore.Quote
Naturalust
I do however have to question your statement about the string tension increase. Yeah it maybe happens with a tighter stop bar, BUT it is always countered with an adjustment of the tuners to bring the string into correct (or relative) pitch. If you are playing with a set neck lenght (string length) and a specific guage of strings (mass) the string tension will always be the same. Length and Mass being the only two factors which effect pitch. That's why string manufacturer's can put tension numbers right on the package.
That being said I can tell the difference when my extra string lengths are wound ALL the way to the base of the tuners. And of course the Fenders accomplish this less elegantly with the string guide things on the headstock between the nut and the tuners.
Actually, the only factor defining pitch (or frequency of a standing wave) is length. The mass alters the amplitude of a vibrating string, altering the volume.
But what I meant was: a proper vibrating string (meaning: a proper standing wave) can only occur when the ends of the string are tightly fixed. Any movement at any end will alter the vibration, making the ‘swing’ of the string wider, and the amplitude of the standing wave smaller. With a stop bar raised too high, the string will vibrate in the slot holes of the bridge.
The peg head of a guitar is quite a contributor to the overall string vibration, and winding the string all the way down will have its effect, although I am not sure if I actually would be able to hear that…but for the last couple of years you see more and more people having a capo clamped to the head stock. I don’t know who started this, but the story is that it increases sustain, especially playing acoustic guitar, or electric slide guitar.
Mathijs
In theory, break angle does not affect string tension. Two strings with the same mass (gauge) at the same pitch must have the same tension.
However, it does affect the way the string feels. A stronger break angle will make the string feel stiffer and harder to bend.
Break angle has some effect on tone and volume too. More angle means tighter contact between the string and the bridge saddle/nut, i.e better transmission of vibration to the body.
Adding mass to the headstock increases sustain because it makes the headstock more resistant to vibration. A less vibrant anchor point means more energy being reflected back to the string.
Re: Mick T's Guitars
Posted by:
DoomandGloom
()
Date: December 22, 2012 05:45
"Time Waits...: is supposed to be a strat....
Re: Mick T's Guitars
Posted by:
Mathijs
()
Date: December 22, 2012 10:28
Quote
zQuote
MathijsQuote
Naturalust
If you've ever had your string height artificially very high (away from the pickups) yopu will see that string vibration to body wood has very little effect in the sound of the notes on a Les Paul. Although I understand the logic in and tightly bound vibration path (all of them).
Well, it takes the discussion to a different path, but for the last couple of years I actually wonder how much the body wood and the string vibration actually influences the tone. I am starting to believe that with an electric guitar the pickups and amp play a very, very large part of the total sound. I used to be quite a collector and trader of vintage electric guitars, having owned more than hundred pre-65 Gibson and Fender guitars. Now, I own just a couple, and all of them are cheap Mexican and Japanese made electrics, but with very good pickups. Through my Boogie MK1 from ’77, I can’t tell the difference between an all original ’55 Fender Tele and my Mexican $400 Tele from the 90’s, with vintage ’57 pickups installed. My ’59 RI LP (which I sold) with a ’60 PAF and ’65 Patent No sounded better than any vintage LP I have ever played. So I am not too sure the body wood is such a contributing factor over the electronics and hardware anymore.Quote
Naturalust
I do however have to question your statement about the string tension increase. Yeah it maybe happens with a tighter stop bar, BUT it is always countered with an adjustment of the tuners to bring the string into correct (or relative) pitch. If you are playing with a set neck lenght (string length) and a specific guage of strings (mass) the string tension will always be the same. Length and Mass being the only two factors which effect pitch. That's why string manufacturer's can put tension numbers right on the package.
That being said I can tell the difference when my extra string lengths are wound ALL the way to the base of the tuners. And of course the Fenders accomplish this less elegantly with the string guide things on the headstock between the nut and the tuners.
Actually, the only factor defining pitch (or frequency of a standing wave) is length. The mass alters the amplitude of a vibrating string, altering the volume.
But what I meant was: a proper vibrating string (meaning: a proper standing wave) can only occur when the ends of the string are tightly fixed. Any movement at any end will alter the vibration, making the ‘swing’ of the string wider, and the amplitude of the standing wave smaller. With a stop bar raised too high, the string will vibrate in the slot holes of the bridge.
The peg head of a guitar is quite a contributor to the overall string vibration, and winding the string all the way down will have its effect, although I am not sure if I actually would be able to hear that…but for the last couple of years you see more and more people having a capo clamped to the head stock. I don’t know who started this, but the story is that it increases sustain, especially playing acoustic guitar, or electric slide guitar.
Mathijs
In theory, break angle does not affect string tension. Two strings with the same mass (gauge) at the same pitch must have the same tension.
However, it does affect the way the string feels. A stronger break angle will make the string feel stiffer and harder to bend.
Break angle has some effect on tone and volume too. More angle means tighter contact between the string and the bridge saddle/nut, i.e better transmission of vibration to the body.
Adding mass to the headstock increases sustain because it makes the headstock more resistant to vibration. A less vibrant anchor point means more energy being reflected back to the string.
What I like about guitars is that there is theory, and there is actual practice. I still find it amazing that when you play five Tele's or Strat's they all play different, have a different feel, and sound different. One guitar seems to fight back, and the other plays just smooth like butter.
I have had literally hundreds of guitars, mostly as I was trading/selling them, and more and more I started to find that I am not a big too fan of vintage guitars, and that current production guitars really are the best instruments ever made (maybe except for the pick-ups).
I just picked up a black Fender Roadhouse Deluxe Strat for 250 euro. Shining new, with plastic still on it. It is just an amazing instrument -it plays fantastic, I love the smooth urethane finish on the neck, the 9" scale makes it play like butter, and the Texas Special pickups sound fantastic. I have never been a big fan of Strats, but this roadhouse might become a favorite.
Mathijs
Re: Mick T's Guitars
Posted by:
Rory Gallagher
()
Date: December 22, 2012 17:56
Mathijs, do you know the history of the Mick Taylor's Strats?
Re: Mick T's Guitars
Posted by:
Slim Harpo
()
Date: December 22, 2012 21:06
Quote
straycatblues73
sure , you can hear the whammy bar on DLS. especially in the outtro
Hmm. I'm fairly sure it's some outstanding slide playing, not whammy.
Re: Mick T's Guitars
Posted by:
Mathijs
()
Date: December 22, 2012 21:10
Quote
Rory Gallagher
Mathijs, do you know the history of the Mick Taylor's Strats?
No. His Strat with the Stones was a standard 63, I believe his 80's and 90's Strats weren't Fender but Blade and Vigier, a French brand. But I have no details.
Mathijs
Re: Mick T's Guitars
Posted by:
lapaz62
()
Date: December 23, 2012 00:43
I like the 59 re-issues he was using in 2009, just don't like the look of a LP with a Bigsby, especially when you never use it.
Re: Mick T's Guitars
Posted by:
Naturalust
()
Date: December 23, 2012 17:46
Quote
zQuote
MathijsQuote
Naturalust
If you've ever had your string height artificially very high (away from the pickups) yopu will see that string vibration to body wood has very little effect in the sound of the notes on a Les Paul. Although I understand the logic in and tightly bound vibration path (all of them).
Well, it takes the discussion to a different path, but for the last couple of years I actually wonder how much the body wood and the string vibration actually influences the tone. I am starting to believe that with an electric guitar the pickups and amp play a very, very large part of the total sound. I used to be quite a collector and trader of vintage electric guitars, having owned more than hundred pre-65 Gibson and Fender guitars. Now, I own just a couple, and all of them are cheap Mexican and Japanese made electrics, but with very good pickups. Through my Boogie MK1 from ’77, I can’t tell the difference between an all original ’55 Fender Tele and my Mexican $400 Tele from the 90’s, with vintage ’57 pickups installed. My ’59 RI LP (which I sold) with a ’60 PAF and ’65 Patent No sounded better than any vintage LP I have ever played. So I am not too sure the body wood is such a contributing factor over the electronics and hardware anymore.Quote
Naturalust
I do however have to question your statement about the string tension increase. Yeah it maybe happens with a tighter stop bar, BUT it is always countered with an adjustment of the tuners to bring the string into correct (or relative) pitch. If you are playing with a set neck lenght (string length) and a specific guage of strings (mass) the string tension will always be the same. Length and Mass being the only two factors which effect pitch. That's why string manufacturer's can put tension numbers right on the package.
That being said I can tell the difference when my extra string lengths are wound ALL the way to the base of the tuners. And of course the Fenders accomplish this less elegantly with the string guide things on the headstock between the nut and the tuners.
Actually, the only factor defining pitch (or frequency of a standing wave) is length. The mass alters the amplitude of a vibrating string, altering the volume.
But what I meant was: a proper vibrating string (meaning: a proper standing wave) can only occur when the ends of the string are tightly fixed. Any movement at any end will alter the vibration, making the ‘swing’ of the string wider, and the amplitude of the standing wave smaller. With a stop bar raised too high, the string will vibrate in the slot holes of the bridge.
The peg head of a guitar is quite a contributor to the overall string vibration, and winding the string all the way down will have its effect, although I am not sure if I actually would be able to hear that…but for the last couple of years you see more and more people having a capo clamped to the head stock. I don’t know who started this, but the story is that it increases sustain, especially playing acoustic guitar, or electric slide guitar.
Mathijs
In theory, break angle does not affect string tension. Two strings with the same mass (gauge) at the same pitch must have the same tension.
However, it does affect the way the string feels. A stronger break angle will make the string feel stiffer and harder to bend.
Break angle has some effect on tone and volume too. More angle means tighter contact between the string and the bridge saddle/nut, i.e better transmission of vibration to the body.
Adding mass to the headstock increases sustain because it makes the headstock more resistant to vibration. A less vibrant anchor point means more energy being reflected back to the string.
Excellent description z, that fits my experience perfectly.
I agree with Mathijs too that the guitars being manufactured these days are awesome. I too have played Fender Squire strats which play and sound as good as the vintage ones for much much less money.
What I love about the vintage instruments is the pickups, the relatively exotic woods and the fact that most of 'em have been broken in to the point where they have found their equilibrium. They become more consistent and predictable and the wear and tear tells stories and even inspires note selection to a point. peace
Re: Mick T's Guitars
Posted by:
VT22
()
Date: December 23, 2012 20:21
Many guitar players are very conservative when it comes to buying a new axe.
It seems like there are only Fenders or Gibsons for sale.
If you got the money, consider a Musicman, Ibanez or a PRS, Carvin or Godin etc.. Good ones come from approx €2000 and upwards, it's just that you don't see Keith, Taylor or Wood playing them that often, maybe not at all. Does that really matter? Not to me.
It seems like there are only Fenders or Gibsons for sale.
If you got the money, consider a Musicman, Ibanez or a PRS, Carvin or Godin etc.. Good ones come from approx €2000 and upwards, it's just that you don't see Keith, Taylor or Wood playing them that often, maybe not at all. Does that really matter? Not to me.
Re: Mick T's Guitars
Posted by:
DoomandGloom
()
Date: December 23, 2012 20:42
Those aren't really strats....Quote
MathijsQuote
Rory Gallagher
Mathijs, do you know the history of the Mick Taylor's Strats?
No. His Strat with the Stones was a standard 63, I believe his 80's and 90's Strats weren't Fender but Blade and Vigier, a French brand. But I have no details.
Mathijs
Merry Christmas!!!
Re: Mick T's Guitars
Posted by:
gotdablouse
()
Date: July 14, 2013 14:03
Got a nice shot of his guitar last night at HP2 :
--------------
IORR Links : Essential Studio Outtakes CDs : Audio - History of Rarest Outtakes : Audio
--------------
IORR Links : Essential Studio Outtakes CDs : Audio - History of Rarest Outtakes : Audio
Re: Mick T's Guitars
Posted by:
S.T.P
()
Date: April 2, 2016 10:30
Just found a Perfect Picture of Gibsons remake of Mick's famous SG:
SG standard reissue VOS issue du custom shop, édition ultra limitée de 2010 avec bigsby, série limitée à 250 exemplaires. Identique à celle de Mick Taylor ...
SG standard reissue VOS issue du custom shop, édition ultra limitée de 2010 avec bigsby, série limitée à 250 exemplaires. Identique à celle de Mick Taylor ...
Re: Mick T's Guitars
Posted by:
Cristiano Radtke
()
Date: February 20, 2018 19:17
Legendary guitarist John 5 digs into a true holy grail guitar – the ’58 Gibson Les Paul from the cover of the Rolling Stones’ ‘Get Your Ya Ya’s Out’ album. Filmed at the Hard Rock Vault in Orlando, FL.
John 5 with Mick Taylor’s ’58 burst!
John 5 with Mick Taylor’s ’58 burst!
Re: Mick T's Guitars
Posted by:
S.T.P
()
Date: October 17, 2019 22:03
Anyone know if the Les Paul which can be seen on the cover of Get Yer Ya Yas Out!, is the same he used on the 1972 American tour?
Re: Mick T's Guitars
Posted by:
Chacho
()
Date: October 18, 2019 04:29
CAN'T SEE PHOTOBUCKET PICS !
Edited 1 time(s). Last edit at 2019-10-18 04:31 by Chacho.
Edited 1 time(s). Last edit at 2019-10-18 04:31 by Chacho.
Re: Mick T's Guitars
Posted by:
TravelinMan
()
Date: October 18, 2019 04:47
What kind of slide was Taylor using in ‘73? Brass? It sounds warmer than brass, but didn’t look like glass.
Re: Mick T's Guitars
Posted by:
TheGreek
()
Date: October 18, 2019 14:05
I have to add my 2 cents about vintage Fender's and Custom Shop Fender's . There is no comparison , yes you can get sort of close but no cigar in the end . In September I was in Nashville and got schooled at Gruhns Guitars via a 1969 Fender Custom Telecaster , double bound 3 color sunburst ,maple neck with some nice flame and get this the neck has real heft to it and was not a puny pencil thin 7.25 radius .This guitar has an Alder body (not ash which is what I prefer ) with nice checking on the body ,and the neck has ambered up into a nice color as well . Enough about cosmetics ,the tone of this Alder body maple neck Tele really surprised me because I always found that Alder was too bright to my ears and did not sing enough , well I was dead wrong as this Tele had nice tone , spank, twang , and sustains nicely . I could actually hear Keef riffs coming out which sounded pretty nice and really the closest I got to the Keith Richards territory minus the fact that I don't have his chops or skill and can rudimentary play the correct notes but I am not the human riffmaster .Turned my head and ears around a full 360 degrees around . There is something to old growth wood and vintage pickups as well . Oh by the way if you ever are in Music City and play guitar Gruhns is a must stop .
Re: Mick T's Guitars
Posted by:
CBII
()
Date: October 19, 2019 20:56
Quote
TheGreek
I have to add my 2 cents about vintage Fender's and Custom Shop Fender's . There is no comparison , yes you can get sort of close but no cigar in the end . In September I was in Nashville and got schooled at Gruhns Guitars via a 1969 Fender Custom Telecaster , double bound 3 color sunburst ,maple neck with some nice flame and get this the neck has real heft to it and was not a puny pencil thin 7.25 radius .This guitar has an Alder body (not ash which is what I prefer ) with nice checking on the body ,and the neck has ambered up into a nice color as well . Enough about cosmetics ,the tone of this Alder body maple neck Tele really surprised me because I always found that Alder was too bright to my ears and did not sing enough , well I was dead wrong as this Tele had nice tone , spank, twang , and sustains nicely . I could actually hear Keef riffs coming out which sounded pretty nice and really the closest I got to the Keith Richards territory minus the fact that I don't have his chops or skill and can rudimentary play the correct notes but I am not the human riffmaster .Turned my head and ears around a full 360 degrees around . There is something to old growth wood and vintage pickups as well . Oh by the way if you ever are in Music City and play guitar Gruhns is a must stop .
Just goes to show no two instruments are alike. You have a point about old growth timber though...
Re: Mick T's Guitars
Posted by:
Mathijs
()
Date: October 21, 2019 11:53
Quote
TravelinMan
What kind of slide was Taylor using in ‘73? Brass? It sounds warmer than brass, but didn’t look like glass.
Chromed steel. In 1972 he used glass and chromed steel, in 1973 chromed steel only.
Mathijs
Re: Mick T's Guitars
Posted by:
Mathijs
()
Date: October 21, 2019 12:16
Quote
S.T.P
Anyone know if the Les Paul which can be seen on the cover of Get Yer Ya Yas Out!, is the same he used on the 1972 American tour?
It's not completely sure. There are conflicting statements by Taylor, and varying stories on which guitars got lost. Story line is that Taylor had two bursts when he joined the Stones -the Bigsby burst, and a 1958. He used the 1958 as back up to his SG, and can be seen on some rare pics of the England 1969 gigs, and it is the Burst on the cover.
Then the conflicting stories begin: there is a story he forgot one of his guitars on a train platform during the 1970 tour, there's a story he sold both Les Paul’s as he needed the money for whatever reason in 1971, and there was the burglary in July 1971.
According to Ted Newman Jones, he arranged half a dozen of Les Pauls (Bursts, Custom, Junior) for the Stones in late 1971 and early 1972 to replace the stolen instruments. Pictures of the 1958 Burst he used on the 1972 tour and later on in the early 1980’s does seem to show a different guitar than the 1958 one he used in 1970 –the burst was less faded, less yellow with more brown and red color to the top. But this is still not conclusive. For the 1973 tour he used Keith’s 1959 burst. He sold both LP’s in 1983 to fund a move to the U.S.
Mathijs
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