[Harp-L] U-block and Tongue-blocking
Hello,
1) Last week-end, I've tried to use "U-block" but it's very difficult.
I don't understand how to do. Someone can explain me an easier way to do it
?
2) Also, When you play in "Tongue-blocking" and you have to play on the
first or second hole, do you use "left Tongue-blocking" or "Pucker" ?
Thanks
Chris
-----Message d'origine-----
De : harp-l-request@xxxxxxxxxx [mailto:harp-l-request@xxxxxxxxxx]
Envoyé : lundi 10 janvier 2005 15:29
À : harp-l@xxxxxxxxxx
Objet : Harp-L Digest, Vol 17, Issue 22
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When replying, please edit your Subject line so it is more specific
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Today's Topics:
1. Re : what to do during the guitar solo (party_man1@xxxxxxxxxx)
2. Richard Hunter's Music (tony)
3. Re: what to do during the guitar solo (Joe and Cass Leone)
4. Re: Eric Chafer - Augmented Spanish Tunings (G)
5. Case quandry (was: Re: Harp Cases Question) (M. N.)
6. Peavey Classic 30 (Priest, Jim)
7. Re: What to do during the guitar solo (samblancato)
8. Peavy Classic 30 (samblancato)
9. RE: Peavey Classic 30 (Priest, Jim)
10. RE: Re: What to do during the guitar solo (Eric Neumann)
11. Re: Peavey Classic 30 (Ralf K. Buschner)
12. Feedback (Pierre)
13. RE: Melodica (was Jazz Church) (Mike Holcomb)
----------------------------------------------------------------------
Message: 1
Date: Mon, 10 Jan 2005 00:10:06 -0500 (EST)
From: "" <party_man1@xxxxxxxxxx>
Subject: [Harp-L] Re : what to do during the guitar solo
To: Harp-L@xxxxxxxxxx
Message-ID: <20050110051006.4A9031E425@xxxxxxxxxxxxxxxxxxxxxxxxxxx>
Content-Type: text/plain; charset="us-ascii"
Gary asked :
Excerpt .
" as i'm starting to play with other people, i could use a little
advice about what to do when i'm not soloing. that is, how
to acompany well. when the guitarist is soloing "
================================================================
Hurricane Sez
Well Gary my man :
Now that I'm playing a guitar too and remember what to do for guitar players
as they are playing , I guess I can offer a tad of advice here .
# 1 :
Asked the guitar man how he likes a back up on his signature song and or
others you need to know about ( usually they have at least one where you
have got to nail it right or else ... ) other than that , one cardinal rule
is always lay back and play less till it's your turn to turn on the after
bummer and rip you best chops .
# 2 :
Study the guy first , sometimes you can see where the :
" empty spots " and then hit them with your " sweet spots "
and fatten up a song better than even the guitarist thought possible ( yeah
harp men can do that a lot , I doooo's )
# 3 :
Be aware of stage " prima donnas " and guitar players are notorious for
being just that . If you study what the guitar plays ( or keyboard players
too for that matter ) and have it down realy good and the crowd loves what
you helped " vamp " and make fatter and fuller with fill , riff's and or
just chugging to the snare drummer's cadense and after the gig the guitar
man says you have to back off , don't be surprised , ignore him mostly if he
/she reacts that way but don't show it outwardly , its best to just smile
and agree .
Bands come and they go , the secret to a long termed band relation usually
resides in the fact or the lack of the fact of maturity , musically and
spiritualy . The chemistry is precise but the formula is rare .
Good hunting my man .
Sincerely :
Hurricane Ramón
Aka :
Party_Man1@xxxxxxxxxx
_______________________________________________
Join Excite! - http://www.excite.com
The most personalized portal on the Web!
------------------------------
Message: 2
Date: Mon, 10 Jan 2005 16:15:21 +1100
From: "tony" <tony@xxxxxxxxxxxxxxx>
Subject: [Harp-L] Richard Hunter's Music
To: <harp-l@xxxxxxxxxx>
Message-ID: <001701c4f6d3$622dfd50$0402a8c0@handel>
Content-Type: text/plain; charset="us-ascii"
Regular visitors to the list will be familiar with Richard Hunter's posts.
His
comments are always worth reading, recent examples being his posts on
the Digitech RP series. His web site, http://www.hunterharp.com/ shares
much of his knowledge, as well as deep insights into a variety of great
players. I always read his harp-l posts.
Richard also provides free access to a wide selection of his full length
MP3's,
also through his site (you need to register). I've recently done this, and
have
greatly enjoyed the power and innovation of his playing, over a range of
styles, both traditional and new.
While listening, it struck me that his music is ideal listening for those
looking
for inspiration outside regular blues styles (there are also great blues
tracks amongst his selection). Hence this post. I strongly urge anyone
wishing
to expand their horizons to register for these MP3s, then take a tour
through many
new possibilities for harmonica playing.
------------------------------
Message: 3
Date: Mon, 10 Jan 2005 00:28:19 -0500
From: Joe and Cass Leone <leone@xxxxxxxx>
Subject: Re: [Harp-L] what to do during the guitar solo
To: harp-l@xxxxxxxxxx
Message-ID: <6FB34A5B-62C8-11D9-B962-000A95DE5A16@xxxxxxxx>
Content-Type: text/plain; charset=US-ASCII; format=flowed
On Jan 9, 2005, at 10:45 PM, Garry Hodgson wrote:
>
> as i'm starting to play with other people, i could use a little
> advice about what to do when i'm not soloing.
advice will be hard to give. It all depends on the group.
> that is, how
> to acompany well. when the guitarist is soloing, should i not
> play at all?
Some don't like you to, some DO like you to. Depends on what you can
add. I would check ahead of time.
> or play occasional accents? quiet rhythm patterns,
> following what the drummer and bass are playing?
This can also vary. Sometimes on CERTAIN tunes, the guitar may not
appreciate help as they have a set way of handling their solo and may
not want extra notes. Conversely, on the very NEXT tune, they may feel
the extra notes are a bonus. Sometimes if the group has a leader (such
as a keyboardist) the leader decides.
> octaves
> following the chord progression? or what?
Yes, what you said, but at THEIR option.
>
> there was some mention a while back of playing behind the guitar,
> but i got no explanation of what that meant.
Playing behind the guitar is just what you said. accents, chords,
(more or less like the horn section playing accents behind James
Brown's singing)
>
> i'd really appreciate any advice, tips, exercises, useful mindsets,
> whatever, that anyone could give me. give me something to work
> on come jam night.
Find out what you can do to ADD to the whole enchilada. Proper mind
set would to be flexible, fluid, relaxed.
>
> thanks
>
>
>
> ----
> Garry Hodgson, Technical Consultant, AT&T Labs
>
> Be happy for this moment.
> This moment is your life.
>
> _______________________________________________
> Harp-L is sponsored by SPAH, http://www.spah.org
> Harp-L@xxxxxxxxxx
> http://harp-l.org/mailman/listinfo/harp-l
>
------------------------------
Message: 4
Date: Mon, 10 Jan 2005 18:39:25 +1300
From: G <gigs@xxxxxxxxxxxxxxx>
Subject: Re: [Harp-L] Eric Chafer - Augmented Spanish Tunings
To: harp-l@xxxxxxxxxx
Message-ID: <3.0.1.32.20050110183925.006e69ec@xxxxxxxxxxxxxxxxxxx>
Content-Type: text/plain; charset=us-ascii
[Link correction]
"And some of the answers can be found on the introduction page to that
article found here"
http://www.angelfire.com/music/harmonica/augspanintro.html
------------------------------
Message: 5
Date: Mon, 10 Jan 2005 05:41:33 -0500
From: "M. N." <mnessmith@xxxxxxxxxxx>
Subject: [Harp-L] Case quandry (was: Re: Harp Cases Question)
To: harp-l@xxxxxxxxxx
Message-ID: <BAY18-F25D8949BF487B593D8C3CB1970@xxxxxxx>
Content-Type: text/plain; format=flowed
G. wrote:
"I've found laptop soft cases very useful for carrying harps and equipment
around <snip> But usually I can fit a set of harps, a mic, the harp
commander and cables in a bum bag that I originally bought for
tramping which I sling over my shoulder."
======================================
Here's the thing about cool harp cases: They sorta scream, "Hey, thieves!
I'm valuable -- steal me!" This is esecially true if you're using a camera,
computer and handgun case. I doubt there are that many crackheads prowling
around hoping to steal a case full of spitty, old harmonicas. But if they
THINK there's a camera or computer or .38 special or clarinet in that case,
well, those are very pawnable items. I like cool harp cases as much as the
next guy (I have a converted tool box with removable tray up top for harps,
while mics/cords/pedals/etc. go underneath). But these days, more often than
not, I stow a handful of harps, mic and Harp Commander in an old shaving kit
and then tote it around the city in a non-descript knapsack or, as G. calls
it, a bum bag! :-) Few thieves would even give it a second glance.
MN
------------------------------
Message: 6
Date: Mon, 10 Jan 2005 12:13:12 -0000
From: "Priest, Jim" <jim.priest@xxxxxx>
Subject: [Harp-L] Peavey Classic 30
To: <harp-l@xxxxxxxxxx>
Message-ID:
<AB7DFB232F350F4DA279727D3677AB5B02A55A9B@xxxxxxxxxxxxxxxxxxxxxxxxx>
Content-Type: text/plain; charset="us-ascii"
Hi amp gurus,
Any experience of/opinions on the Peavey Classic 30 as a harp amp? I
tried one (it's some years old) and it seems a bit thin on tone to me,
plus I can't turn it up above about 3 without it feeding back like a
banshee - tried both a JT30 and a Shure 545 mic, the 545 was worse. The
tubes are 3x12AX7A (Peavey-branded) preamp and 4xEL84(Sovtek) power.
Stock (completely anonymous) speaker. Are there tube configurations that
would improve it... or is it not worth persevering ?
Jim
------------------------------
Message: 7
Date: Mon, 10 Jan 2005 07:21:53 -0500
From: "samblancato" <samblancato@xxxxxxxxxxx>
Subject: [Harp-L] Re: What to do during the guitar solo
To: "Harp-L" <harp-l@xxxxxxxxxx>
Message-ID: <MDEFKAOEAIBCJGOIIGKDEELMCBAA.samblancato@xxxxxxxxxxx>
Content-Type: text/plain; charset="iso-8859-1"
Gary Hodgson writes:
"as i'm starting to play with other people, i could use a little
advice about what to do when i'm not soloing. that is, how
to acompany well. when the guitarist is soloing, should i not
play at all? or play occasional accents? quiet rhythm patterns,
following what the drummer and bass are playing? octaves
following the chord progression? or what?"
Gary,
I've read the other guys posts answering your question, most of which I
agree with, and wanted to add a couple of comments to the mix.
There are some guitar solos that you just can't add anything to. Sometimes
this is easy to see, sometimes it isn't. If it's a Steve Ray song than
you'll have to sit it out entirely. Guitar players of intermediate skill
LOVE Steve Ray solos because the whole dynamic of his sound is guitar front
and center. There is lot of blues like that and guitarists who want to play
it - there's no room for harp here. This is a shame because it discourages
any development of dynamics. Everybody has to take their turn and the grove
is usually very one dimensional. The interplay of different instrument
voices is suppressed almost entirely. The songs all have this flat, linier
quality.
At the other end of the spectrum is blues where you get a lot of integration
and interplay of the different voices. You hear this a lot on older blues
recordings and especially on blues recordings that feature a harp player
like Piazza or Wilson or Little Walter or Howlin Wolf. I used to think I was
biased toward these bands because there is a lot of harp there for me to
dig. But more and more it's has occurred to me that I also like these sounds
because there's more depth to them, more dynamics, more counterpoint.
Because of the harp, the other musicians have had to make room for it and in
doing so they often end up with a more complex, satisfying sound, not just
because of the harmonica but because everybody is more careful. The
resulting sound feels more carefully fit together. If there is one thing
about blues harmonica that people don't appreciate this is it. In fact, I
would go so far as to say that the Chicago sound was defined by this dynamic
and that the harmonica was what brought it about for a better portion of the
cannon of that genre.
So what you have to do is get a feel for what the guys you're playing with
know and want from this approach. A few weeks ago I posted comments about
leaning into the vocals at jams and how one guy I was jamming with really
"got" it. You are going to find that most of the time, even it you're
subtle as hell, everybody is going to think you're stepping on them. How
can they think otherwise? This is how most jams are shaped I think. It's
not anybody's fault so much as a function of four or five people who don't
play together often and don't have time to plan what they are doing.
I've played with some guitarists who aren't that good and the better of this
group stay in the rhythm mode a lot and you can really get in there, sort
of syncopation style, getting short, two note riffs in between beats. The
worst of this group solo all over the place in spite of not really knowing
what they are doing and you just have to stay out of it.
So that's my take on this subject - sorry if it went on too long.
Sam Blancato, Pittsburgh
------------------------------
Message: 8
Date: Mon, 10 Jan 2005 07:26:44 -0500
From: "samblancato" <samblancato@xxxxxxxxxxx>
Subject: [Harp-L] Peavy Classic 30
To: "Harp-L" <harp-l@xxxxxxxxxx>
Message-ID: <MDEFKAOEAIBCJGOIIGKDIELMCBAA.samblancato@xxxxxxxxxxx>
Content-Type: text/plain; charset="iso-8859-1"
Hi amp gurus,
Any experience of/opinions on the Peavey Classic 30 as a harp amp? I
tried one (it's some years old) and it seems a bit thin on tone to me,
plus I can't turn it up above about 3 without it feeding back like a
banshee - tried both a JT30 and a Shure 545 mic, the 545 was worse. The
tubes are 3x12AX7A (Peavey-branded) preamp and 4xEL84(Sovtek) power.
Stock (completely anonymous) speaker. Are there tube configurations that
would improve it... or is it not worth persevering ?
Jim
Hi Jim,
The first amp I ever bought was a Classic 30. I had nothing but hassles with
it. My advise is not to persevere. I tubed it down and it still squealed
like hell. There is no back on the thing so there's no shielding at all on
the tubes. I actually go radio stations on mine. I had nothing but problems
with this amp. A better amp and that price is the Fender Blues Junior.
Sam Blancato, Pittsburgh
------------------------------
Message: 9
Date: Mon, 10 Jan 2005 12:31:17 -0000
From: "Priest, Jim" <jim.priest@xxxxxx>
Subject: [Harp-L] RE: Peavey Classic 30
To: <harp-l@xxxxxxxxxx>
Message-ID:
<AB7DFB232F350F4DA279727D3677AB5B02A55AA7@xxxxxxxxxxxxxxxxxxxxxxxxx>
Content-Type: text/plain; charset="us-ascii"
Well I did what I should have done before posting and searched the
archives ! Came up with one very helpful post from Scorcher...
"I have one, and occasionally I'll use it for a LITTLE bit more volume
than my ProJr can manage... Here's how I set mine up for a 520DX (Mic
volume 1/3-3/4): Norm [0] Channel Button [IN] Post [5-10] -depending on
the room. Pre [1-3] Reverb [1-2] (I tend to have a pretty "dry" sound.
Some diaphragm & throat tremolo makes up for a lot of reverb.) Bass
[12+] Mid [5-10] 8-ish, usually. Boost Button [OUT] (Boost button
BAAAAAAD) Treble [2] Don't get in front of the amp stay 15+ feet (5
meters) to the side"
If anybody can add to this I'd be interested.
Jim
>>>
Hi amp gurus,
Any experience of/opinions on the Peavey Classic 30 as a harp amp? I
tried one (it's some years old) and it seems a bit thin on tone to me,
plus I can't turn it up above about 3 without it feeding back like a
banshee - tried both a JT30 and a Shure 545 mic, the 545 was worse. The
tubes are 3x12AX7A (Peavey-branded) preamp and 4xEL84(Sovtek) power.
Stock (completely anonymous) speaker. Are there tube configurations that
would improve it... or is it not worth persevering ?
<<<
------------------------------
Message: 10
Date: Mon, 10 Jan 2005 06:50:06 -0600
From: "Eric Neumann" <eneumann@xxxxxxxxxxxxxx>
Subject: RE: [Harp-L] Re: What to do during the guitar solo
To: "samblancato" <samblancato@xxxxxxxxxxx>, "Harp-L"
<harp-l@xxxxxxxxxx>
Message-ID:
<D24BAD7DFFF8BE43B682CCE4FC890F57173EE8@xxxxxxxxxxxxxxxxxxxxx>
Content-Type: text/plain; charset="utf-8"
My two cents - I agree with the fine advice, and I would add.... that it is
very beneficial to record yourself during the jam. If you take the tape home
and listen to it - it should seem obvious whether it sounds "right" or not.
It will help you to identify these finer points of when and where for your
future jams.
In my opinion, nothing beats the "naked truth" of listening to your own
performance after the beer wears off. =)
------------------------------
Message: 11
Date: Mon, 10 Jan 2005 14:14:15 +0100
From: "Ralf K. Buschner" <r_buschner@xxxxxxxxxxx>
Subject: Re: [Harp-L] Peavey Classic 30
To: harp-l@xxxxxxxxxx
Message-ID: <200501101414.15969.r_buschner@xxxxxxxxxxx>
Content-Type: text/plain; charset="iso-8859-1"
Hi Jim,
> Any experience of/opinions on the Peavey Classic 30 as a harp amp? I
> tried one (it's some years old) and it seems a bit thin on tone to me,
> plus I can't turn it up above about 3 without it feeding back like a
> banshee - tried both a JT30 and a Shure 545 mic, the 545 was worse. The
> tubes are 3x12AX7A (Peavey-branded) preamp and 4xEL84(Sovtek) power.
> Stock (completely anonymous) speaker. Are there tube configurations that
> would improve it... or is it not worth persevering ?
i also own that baby, and fully agree with you regarding the rather thin
sound. So i went forward and changed the 1st tube into a 12AT7. Additionally
i mounted a master volume pot, so i can crank up the volume pot and turn
back
on the master volume pot. Now i had the full range from 0 to 12, and can
change the distortion level with the volume pot.
But the baby still had the same sound, so i had to do some more
sophisticated
mods - changed the circuitry of the 1st tube to a fender like circuit, did
some mods in the tone stack, and changed the circuit of the final stage from
fixed bias to cathode bias. This all helped a lot, but i wasn't yet really
satisfied with it. So i bought a Jensen speaker, but NOT a Alnico type, but
a
ceramic - C12N. This caused a really dramatically change of the tone, now
this amp has really balls! Lots of bass, and a really sweet breakup.
Some guys first mentioned "Peavey is trash, doesn't sound really good for
harp!", when they saw him first, but changed theirs mind, when they heard,
like the amp boogies. And on christmas day i had a gig with a bunch of
Harley
riders in the audience, and when i plugged my Argonne mic in and played some
notes for adjusting my sound and volume, i heard from them "Whoooaaa! What a
bass!!!"
I think, it's right now! :-)
But: For the mods of the circuitry, you should have a bit more than only
basic
knowledge about electronics, because it's a lot to do, cutting leads on the
printed circuit board, drawing additional wires, adding components and
similar stuff. Or you have an experienced electronic freak in the
neighborhood...
For more details, send me a mail to r_buschner@xxxxxxxxxxx - i wouldn't like
to annoy all the guys here with detailed tech stuff...
cu,
Ralf
------------------------------
Message: 12
Date: Mon, 10 Jan 2005 09:07:29 -0500
From: Pierre <plavio@xxxxxxxxxxxx>
Subject: [Harp-L] Feedback
To: harp-l@xxxxxxxxxx
Message-ID: <001c01c4f71d$b9074470$153b8342@BIGDOG>
Content-Type: text/plain; charset=iso-8859-1
This subject keeps comming up, not surprising since setting many amps at
more than 3 generates feedback. The problem with this is that the amp may
not overdrive below 5 or 6.
So why do miced amps tend to feedback in the first place?
Is it because a mic's output simply has higher voltage levels than a guitar
(perhaps due to loudness of the harmonica). If so why not just use volume
control on the mic to bring it back to the expected range of a guitar and
then jack up the volume and/or drive on the amp?
Seems to me when you use a console to mix sound to a PA, a pot is used to
control the volume to the PA and since this is how its done in recording
studios, than this must be a good way of attenuating a signal.
I've probably made my point, but I have another example, guitars also have
pots to control output and people use these constantly during shows for
various effects, during solos and to induce feedback when needed.
So why use expensive feedback supressors when a $2 pot can be used earlier
in the chain?
Pierre.
------------------------------
Message: 13
Date: Mon, 10 Jan 2005 08:24:37 -0600
From: Mike Holcomb <mholcomb@xxxxxxxxxxxxxx>
Subject: [Harp-L] RE: Melodica (was Jazz Church)
To: harp-l@xxxxxxxxxx
Message-ID: <20050110_142437_006705.mholcomb@xxxxxxxxxxxxxx>
I believe it's a melodica backing up Howlin' Wolf on "Who's Been Talkin"
Great tune.
--
Best regards,
Mike Holcomb
------------------------------
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