Re: [Harp-L] Google Groups site sound files clarification



I notice that fjm is bruiting my real name about. Files uploaded by HTownFess at the Harp-L Google Groups site (http://groups.google.com/group/harp-l/files/)Âare from me. One can right-click on filenames at the Files page for the option of saving them to your machine, if the sound files donât stream correctly (QuickTimeÂis one thing that worksÂfor streaming playback). Apologies to anyone who had trouble finding/playing these files. BTW, if you use a recording program like Audacity to play saved mp3s like these, you can often see interesting visual correlations to what you are hearing in the A/B demos.


There are a couple of perfomance clips that I think I mentioned onlist when I posted them. 8403MatchboxBlues is my occasional invitational all-tubeÂjam, trying to re-create the ca. 1950 blues soundscape with a 25w tube PA for vocals, Kay hollow body electric bass, small vintage guitar amps, etc. SSBlueMid31608 is me playing Dave Nevlingâs Meteor Mini-Meat amp with Daveâs band the Blues Kats, just an amp demo workout on a LW standard.


MysteryHarp might stump even Winslow Yerxa and Rick Dempster, not that itâs necessarily an area of their research: itâs two snippets from a 1961 single on an obscure local label, cashing in on the Jimmy Reed soundâs popularity. The kicker is that the artist is a white guy, possibly the first to record commercially playing postwar Chicago-style harp; heâs also singing and plays the lead guitar on the second snippet=2
0as well. Hints: He actually had a single out in 1960 on Chess Recordsâ Argo subsidiary. Rob Paparozzi likes to cover a classic that this guy played guitar on. And believe it or not, you know what this guy looked like.


I have been posting a cycle of sound clips involving impedance matching issues that I will explain in separate posts. They start with SuproSupremeFinal, whichÂbegan as a demo of harp mods to my brother's 1947 Supro Supreme but wound up being a graphic illustration of impedance matching issues with vintage mics, and one way to solve those. It transcends the category of gear-wonkeryÂby showing howÂproper impedance matching can audibly clarify the articulation of your hand movements if you play in a cupped-mic style, projecting the expressiveness of your playing better if you happen to use your hands that way.

All these files will be taken down/based elsewhere sooner or later, so if anyone in the futureÂis reading this in the archives, the files in question may not appear at the Google Groups page. Boy, it feels weird to write that.


Stephen Schneider 



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