Jim's tone is amazing coming out of that little princeton reverb. just wondering if anyone knows the settings he has on the amp when playing with the honeyfingers..
same as usual I am pretty sure it is basically pinned the whole time.
the pick up selector on the guitar, however, tends to move around a little with Honeyfingers. With the Trio it is mostly in the bridge/treble position, if not always.
I usually dime the amp volume but it doesn't mean I'm playing on 10. Treble 8, Bass 10, Reverb 3 to 4.5. I think I switch pick ups often, within a tune - but some songs require bridge position just to cut through, Backburner, Jim's Blues, Monkey etc.
Changing where you strike the string, and dynamic touch alters the sound and clarity drastically - at this point I do that without thinking.
Additionally- pickup selection can be dictated by the room, an unfriendly non-conductive ground surface (cement is the enemy, wood is our friend) or even the quality of grounding.
At the 55 Bar I occasionally have to do the gig entirely in middle position because of the hum that approaches chainsaw levels. This is why I have my '59 and the Campy Fender Custom Shop guitars wired for reverse polarity pick ups - for middle pick up refuge in buzzy/no grounding environments (installing your pick ups where the magnets are repelled as opposed to attracted to each other). I've experienced chainsaw buzzing at sessions and overdubbing Backburner on "Orange" comes to mind. Because I had to employ the bridge pickup we'd have to wait for the buzzing to pass. It was loud as my output! And yes, tensions can mount while the studio clock is ticking.
As most of you know, middle and neck position on a Telecaster makes getting harmonics tough, like the B section of "Prettiest Girl..." . That can be frustrating, but then the perseverance to make good music in a less then optimum environment is the goal.
Hmmm, how'd I get here? The question was about amp settings! ha ha!
Jim's post answered a question I have had for years but never pursued. On my Strat I've always wondered why the harmonic was so poor when using the neck pickup. I just assumed it was a quirk of my Strat's set up since I'd never experienced the problem on any previous guitar. Jim's mentioning the poor harmonics on the tele forced me to finally investigate. Short version:. The neck pickup on the tele and strat are basically at the same spot as the fifth fret. Plucking the harmonic there basic causes very little motion for the neck pickup to detect.
It's funny, I've been playing guitar for almost 30 years, and a tele for 20, and I never knew about the "neck harmonics issue" until a couple years ago.... weird... I must not have been playing natural harmonics much in the last several years (I used to all the time)... but when I started listening to Jim a few years ago I was like "OH YEAH!!! HARMONICS!!! I forgot about those!" LOL
Comments
the pick up selector on the guitar, however, tends to move around a little with Honeyfingers. With the Trio it is mostly in the bridge/treble position, if not always.
I usually dime the amp volume but it doesn't mean I'm playing on 10. Treble 8, Bass 10, Reverb 3 to 4.5. I think I switch pick ups often, within a tune - but some songs require bridge position just to cut through, Backburner, Jim's Blues, Monkey etc.
Changing where you strike the string, and dynamic touch alters the sound and clarity drastically - at this point I do that without thinking.
Additionally- pickup selection can be dictated by the room, an unfriendly non-conductive ground surface (cement is the enemy, wood is our friend) or even the quality of grounding.
At the 55 Bar I occasionally have to do the gig entirely in middle position because of the hum that approaches chainsaw levels. This is why I have my '59 and the Campy Fender Custom Shop guitars wired for reverse polarity pick ups - for middle pick up refuge in buzzy/no grounding environments (installing your pick ups where the magnets are repelled as opposed to attracted to each other). I've experienced chainsaw buzzing at sessions and overdubbing Backburner on "Orange" comes to mind. Because I had to employ the bridge pickup we'd have to wait for the buzzing to pass. It was loud as my output! And yes, tensions can mount while the studio clock is ticking.
As most of you know, middle and neck position on a Telecaster makes getting harmonics tough, like the B section of "Prettiest Girl..." . That can be frustrating, but then the perseverance to make good music in a less then optimum environment is the goal.
Hmmm, how'd I get here? The question was about amp settings! ha ha!