Re: [Harp-L] Sound files clarification re-send (ignore if garbled)



This one didn't come out right in the digest, so I hope this version is clean; there's been enough confusion on this issue already. I notice that fjm is bruiting my real name about; files at the Harp-L Google Groups site Files page (http://groups.google.com/group/harp-l/files/) that were uploaded by HTownFess are from me. One can right-click on sound filenames to save them to your machine for playback if streaming doesn't work properly for you. BTW, using recording programs like Audacity to play back such saved mp3s can sometimes give you interesting visual correlation of what you are hearing in A/B demos (amplitude, etc.).

There are a couple of performance clips that I think I mentioned onlist when I posted them. 8403 is my occasional all-tube jam, trying to re-create the ca. 1950 soundscape with a 25w tube PA for vocals, Kay hollowbody electric bass, small vintage guitar amps, etc. SSBlueMid31608 is me playing Dave Nevling's Meteor Mini-Meat amp with his Blues Kats band, just an amp demo workout on a LW standard.

MysteryHarp might stump even Winslow Yerxa and Rick Dempster, not that it's necessarily from an area of their research: it's two snippets from a 1961 single on an obscure record label, songs trying to cash in on the popularity of Jimmy Reed's sound. You may find it interesting that it's a white guy playing the harmonica, possibly the earliest such commercially recorded example of the postwar Chicago style; he's also singing, and plays the lead guitar on the second snippet as well. Hints: He actually had a single out in 1960 on Chess Records' Argo subsidiary, he played the guitar on a classic that Rob Paparozzi loves to cover, and you already know what he looks like.

I have been posting a cycle of sound clips involving impedance matching that I will explain in separate & hopefully nongarbled posts. They start with SuproSupremeFinal, which began 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-wonkery by showing how proper 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/moved elsewhere before long, so if anyone in the future is reading this in the archives, the files in question may not appear at the Google Groups page. Boy, it feels weird to write that. Meanwhile, I'll wait to see whether this comes out clean in the digest before posting anything else.

Stephen Schneider



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