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

[spschndr@xxxxxxx]

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