[Harp-L] Re: gary smith review
This was sent from Gary after doing some gigs.
"
I have been playing blues harp through tube amps for 40 years. Out of the
literally hundreds of amps I have used, one occasionally will have that special
quality of tone and presence that inspires me to play my best and most
soulful. Everyone who has heard me play through the Sonny Jr. Cruncher has been
impressed and moved by its sound.
I recently debuted the Cruncher at JJ's Blues Club here in town......got
many curious and blown-away harp fans. Dave, the sound guy of some years at the
club, was floored. He said it was the best tone he ever mixed and concluded,
"this one's got the magic!!"
I am pleased and enthusiastic to be endorsing this great line of amps!
Gary Smith
July 2008
. For me it is an honor to have Gary speak so highly of it.
In a message dated 7/15/2008 9:39:38 A.M. Eastern Daylight Time,
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Today's Topics:
1. Re: country/western (Rick Dempster)
2. Country & Bluegrass Seminars At SPAH Conventions (tul1rd@xxxxxxx)
3. Re: country/western (Joe and Cass Leone)
4. BandMaster (sgvg)
5. Re: Jayphat schematic (HTownFess)
6. chromatic help (mike reid)
7. New Harping MIDI version 2.9 (Javier Argomedo)
8. Big Harp Amp Sale {Meteor & Fender Bassman} (jandkday@xxxxxxxxxxx)
9. Re: BandMaster (David Payne)
10. country/western (MANFRED WEWERS)
11. Re: Suzuki Soprano Single, Alto Single (MilwHarmonica@xxxxxxx)
----------------------------------------------------------------------
Message: 1
Date: Tue, 15 Jul 2008 15:23:28 +1000
From: "Rick Dempster" <rick.dempster@xxxxxxxxxxx>
Subject: Re: [Harp-L] country/western
To: "Joe and Cass Leone" <leone@xxxxxxxx>
Cc: harp-l@xxxxxxxxxx
Message-ID: <487CC0EF.7C8A.0066.0@xxxxxxxxxxxxxxx>
Content-Type: text/plain; charset=US-ASCII
Strange that Joe. To me, drenched in old local-style vamping, Chicago blues,
Louisiana Blues etc etc., plus all the pre-war style US greats. black &
white, the old-style country guys like Wayne Raney, Onie Wheeler, Lonnie Glosson
etc., 'country harp' was blown wide open by Charlie McCoy, who not only
demonstrated the possibilities of harmonica in country music, but also the
broadly applied melodic possibilities of second position. He really turned it into
a 'voice', and really made me think very differently about the instrument.
McCoy's playing had a dramatic effect on me, and I'm certain, amongst harp
players generally. Obviously, because I'm not a US resident, there may be a lot I
have missed; maybe there were other unknown players (yourself, perhaps?)
influencing things at the grass roots level. But for those of us members of the
'cargo cult' (ie buyers of imported records) McCoy's influence was huge. I
see Jason Ricci cites Pat Ramsay (hope I'm right here!) as his major influence,
but listening to Ramsay, I'd say that without McCoy, Ramsay wouldn't be
playing like he did, and perhaps likewise, therefore, Jason. I'm sure I could
extend this parallel. Thus the dearth of 'country' players amazes me, and the
rareness of references to McCoy on the list likewise. No country harp at SPAH?
Incredible! (hey...it's none of my business anyway; no offence intended)
Cheers,
RD
>>> Joe and Cass Leone <leone@xxxxxxxx> 15/07/2008 14:23 >>>
On Jul 14, 2008, at 10:27 PM, Rick Dempster wrote:
> Amongst the 392 faithfuls
I should add that the roughly 400 change from year to year. There is
a turnover.
> , can you not find a quorum of scratchers, scrapers, sliders &
> pickers to assemble a country lineup?
Here's the problem oh Rick of Dempsters. The by-laws say that other
instruments can be used, but music MUST include a harmonica and it
must be prominently featured. This has given people the mistaken idea
that other instruments are sort of frowned upon. Therefore the usual
combination you will get is a guitar/harp player. Once we even had
Larry Adler on piano with left hand and chromo with right hand.
And let's face it, it's hard to play a horn and harp at the same
time. Then getting other musicians together brings into play shipping
the instruments IN. The way the airlines have been lately, I don't
think 'I' would want to ship an instrument case. On a recent trip to
Columbus, I had to make room to bring a trumpet home that I hadn't
brought with me on the trip up there. I flew. I don't carry much when
I fly.
> Dunno why there's not more input from country players on harp-l
> anyhow (yep, it's all been said before, I know)
Well, for one thing, there aren't many country players ON harp-l, and
I don't think anyone knows who even PLAYS country, except, of course,
the usual suspects. I would bet my next retirement check that the
diatonic players that were mentioned yesterday had NO idea that I
(for example) played country. That's because they don't know who I
am. Not really.
In the 17 years (this year), that I have been going to conventions,
no one has ever asked me to be on any country/western panel or forum.
In fact, no one has ever asked me to be on any jass panel or forum.
Most players who are not in the top echelon slip under the radar.
smo-j
> Cheers,
> RD
>
>>>> Joe and Cass Leone <leone@xxxxxxxx> 15/07/2008 11:58 >>>
> No Rick, it isn't that. What I meant was that without a country
> western band, there's a problem. See, what happens is that the
> harmonica player is forced to do the entire tune if he/she has no
> back-up. It's a lot 'fuller' if another instrument can take a part,
> so that they can then segue into a key change.
>
> One guy juggling harps while trying to 'carry' the entire tune, is
> not good. When you listen to a country/western tune, you usually hear
> another lead instrument, a rhythm instrument, and possibly a harmony
> instrument in addition TO the harp. Stuff like: pedal steel, dobro,
> fiddle, banjo, guitar, mandolin, piano, or any combo thereof.
>
> Unfortunately spah can never get more than 392 of its 886 members in
> any one place at any one time and the festival fee (multiplied) STILL
> doesn't leave a lot of spare change, and they flat out can't afford
> to bring in paid musicians. It's not like the Suncoast trad jass
> fest, where there are 4484 attendees over their 3 days. Where (at
> $90.oo a ticket), the gate is over 400 grand. Spah can't break 7
> grand. That's a BIG difference.
>
> smo-joe
>
> On Jul 14, 2008, at 8:11 PM, Rick Dempster wrote:
>
>> You guys mean to say the backing musos at Spah can't play country?!!
>>
>>>>> michael hines <otisharp@xxxxxxxxxxxxx> 15/07/2008 10:00 >>>
>> Surely they'll be a couple a geetars around. Might be able to fake
>> a little bit of country.
>>
>> Mike
>> _______________________________________________
>> Harp-L is sponsored by SPAH, http://www.spah.org
>> Harp-L@xxxxxxxxxx
>> http://harp-l.org/mailman/listinfo/harp-l
>>
>> _______________________________________________
>> Harp-L is sponsored by SPAH, http://www.spah.org
>> Harp-L@xxxxxxxxxx
>> http://harp-l.org/mailman/listinfo/harp-l
>>
>>
>>
>>
>
> !DSPAM:5614,487c0b1f30501698052693!
>
>
------------------------------
Message: 2
Date: Tue, 15 Jul 2008 01:36:26 -0400
From: tul1rd@xxxxxxx
Subject: [Harp-L] Country & Bluegrass Seminars At SPAH Conventions
To: harp-l@xxxxxxxxxx
Message-ID: <8CAB453DC37F860-6A8-26D7@xxxxxxxxxxxxxxxxxxxxxxxxxxx>
Content-Type: text/plain; charset="us-ascii"
Hey guys, let me fully explain how these seminars are constructed for the
SPAH conventions over the years. I have been with SPAH since 1977, and I am
usually the person that hosts or conducts the Country & Bluegrass seminars at
SPAH. I start working on my seminar six months before the convention. First I
call the names of the harmonica players on my list to invite as my guests, to
conduct their portion of the seminar. They usually say, sure? I would love to
be a part of it, as long as I am not booked a paying gig on that date?of the
convention. Myself and all of my seminar presenters do not get paid to
conduct seminars at the convention. We donate our services. I have around six
instructors as my guests, (famous and not so famous) and I tell them way in
advance to pick an important subject that relates to either Bluegrass or Country
style harmonica playing that they can instruct. I have to check in with each
of my guests over the period of six months to?make sure they do not?cover the
same topic by another presenter. It has to be mainly educational. My seminars
are more like a classroom, than a concert. We have to make the most out of
it since we do not have a Bluegrass or Country band with us. We have been
lucky to have Joe with his guitar to help us out during our seminars. SPAH will
not pay for a band for us, and not just for their performance, but their hotel
rooms, gas?and meals. I have discuss this matter in the past with Paul
Davies, and suggested having the SPAH convention in Nashville, Tenn., so that way
we could get a Bluegrass and a Country band to be part of my seminar. He
loved the idea. ?We could have the bands stick around after the seminar, so some
of the harmonica players can jam with them. That would be so cool to have one
big Country & Bluegrass jam session at SPAH someday. The only and big
problem is, there has to be a harmonica club in Nashville, and that they are
willing to host the SPAH convention there. Well, so far there is not a harmonica
club in Nashville. If any of you folks have any
suggestions for my future Country & Bluegrass seminars at the SPAH
conventions, please direct you comments to my Email address at tul1rd@xxxxxxxx Thank
you.?????????? Tulsa Read www.harmonicaonline.com
------------------------------
Message: 3
Date: Tue, 15 Jul 2008 02:18:45 -0400
From: Joe and Cass Leone <leone@xxxxxxxx>
Subject: Re: [Harp-L] country/western
To: "Rick Dempster" <rick.dempster@xxxxxxxxxxx>
Cc: harp-l@xxxxxxxxxx
Message-ID: <B718EDEF-6307-4213-B14A-10CE6ADC1555@xxxxxxxx>
Content-Type: text/plain; charset=US-ASCII; delsp=yes; format=flowed
On Jul 15, 2008, at 1:23 AM, Rick Dempster wrote:
> Strange that Joe. To me, drenched in old local-style vamping,
> Chicago blues, Louisiana Blues etc etc., plus all the pre-war
> style US greats. black & white, the old-style country guys like
> Wayne Raney, Onie Wheeler, Lonnie Glosson etc., 'country harp' was
> blown wide open by Charlie McCoy, who not only demonstrated the
> possibilities of harmonica in country music, but also the broadly
> applied melodic possibilities of second position.
When I started playing harmonica, I started on chromo first, so I had
no idea about diatonic. Then when I eventually started playing it, I
did the same thing I had done with chromo. I sucked instead of
blowing. So, in retrospect, I started playing chromo in 3rd position.
The I started diatonic in 2nd.
Somewhere along the way, I decided there were too many missing notes,
and so I retuned a reed on my diatonic. Then I retuned another.
Imagine my shock when, in 1970 a program came on TV and there was a
fellow who was playing diatonic that sounded similar to me. It was
Charlie McCoy.
Ironically, it was in 1962? when I was in the navy and was spending
a weekend at a place called Virginia Beach Va. and Roy Orbison was
appearing at the Peppermint Top Hat lounge. I told Orbison that I
could do the harp part on Candy Man if he wanted to do it. Roy
brushed me off. I didn't know it was McCoy on that record at that time.
I don't do the fast stuff he does. P.T. Gazell is so much better at
it. Listen to Phil do the Flintstones if you think I'm kidding. Rocky
Top & Bobby McGhee is as fast as I go. So, if you don't do those
crowd pleasers (like OBS & John Henry), you won't get the big bucks.
> He really turned it into a 'voice', and really made me think very
> differently about the instrument.
I ALWAYS thought about it that way. I suppose listening to Neopolitan
love songs, gave me an idea of where I wanted to go.
> McCoy's playing had a dramatic effect on me,
It gave ME encouragement.
> and I'm certain, amongst harp players generally. Obviously, because
> I'm not a US resident, there may be a lot I have missed; maybe
> there were other unknown players (yourself, perhaps?)
No, don't start. Forget the 'yourself' thing. I am just average. I
don't want to impose upon your life but check out my video 'After The
Lovin' at http://youtube.com/user/snarkus before you let THAT pop
into your head again. Then tell me if you think I can handle country.
> influencing things at the grass roots level.
Grass is about the level that I'm at. Very good lol
> But for those of us members of the 'cargo cult' (ie buyers of
> imported records) McCoy's influence was huge. I see Jason Ricci
> cites Pat Ramsay (hope I'm right here!) as his major
> influence, but listening to Ramsay, I'd say that without McCoy,
> Ramsay wouldn't be playing like he did, and perhaps likewise,
> therefore, Jason.
I have heard Ramsey at the Buckingham Blues Bar in Ft. Myers Florida
and I don't see the connection to Jason. Jason's style is different.
> I'm sure I could extend this parallel. Thus the dearth of 'country'
> players amazes me, and the rareness of references to McCoy on the
> list likewise.
I would mention him but I don't want to tick anyone off. Spent his
67th birthday with him, (he's a year older than I) had a wonderful
day, and I wouldn't do anything to cause him any loss of esteem by
constantly bringing up his name till someone got annoyed and wound up
taking it out on HIM. I profoundly admire him.
> No country harp at SPAH? Incredible! (hey...it's none of my
> business anyway; no offence intended)
Well, I didn't mean to give the impression that there's NO country
harp at spah. There is, but it is naturally limited by the resources
available. There are players but they practically have to play
Acapulco. Mainly because they can't bring their bands. The usual
routine is for a country harper to lay down the head and bridge. This
may take 45 seconds. Then another instrument (like a guitar) comes in
for a phrase (30 seconds) and maybe a THIRD instrument (dobro/fiddle)
comes in for the bridge (15 seconds). Then the harp finishes with
another 45 seconds. Total time= 2 min 15 sec. So if you want to pull
the tune out longer, you can stretch the guitar & dobro or fiddle
parts to 45 seconds. Total = 3 minutes. A tune almost HAS to be 3
minutes.
Otherwise the poor harp player has to blow his brains out for 3 solid
minutes all by himself. That gets old real quick. For the player AND
the audience. The key is to keep it diversified. Too much of the same
timbre isn't good.
Jo-Jo
> Cheers,
> RD
------------------------------
Message: 4
Date: Tue, 15 Jul 2008 04:04:08 -0500
From: "sgvg" <sgvg@xxxxxxxxxxx>
Subject: [Harp-L] BandMaster
To: <harp-l@xxxxxxxxxx>
Message-ID: <004401c8e659$be406c30$4001a8c0@engraver>
Content-Type: text/plain; charset="iso-8859-1"
Nope mine is NOT an 1898 model. Thanks to Dave's posting of the original
sure clears the air for me. It does say registered Made In Germany trade mark.
Don't know, new at this stuff may be a way they made it in India, and looked
like made in Germany?
Stan
------------------------------
Message: 5
Date: Tue, 15 Jul 2008 04:06:02 -0700 (PDT)
From: HTownFess <Spschndr@xxxxxxx>
Subject: [Harp-L] Re: Jayphat schematic
To: harp-l@xxxxxxxxxx
Message-ID:
<913681f6-74cb-4bf3-a78c-c927b4552c90@xxxxxxxxxxxxxxxxxxxxxxxxxxxx>
Content-Type: text/plain; charset=ISO-8859-1
At http://groups.google.com/group/harp-l/files/ look for the
JAYPHAT2.jpg file for the schematic. Can't do a direct link because
that seems to break down as soon as anybody uploads another file to
that page. JAYPHATDelayDemo is a sound file with an MC-151, DD-3 and
Danecho; there is also a bit of CM + Danecho near the end of the
JAYPHATEV127CM file. Don't know of anyone building this commercially;
the Kinder Maximizer box does the same kind of mic buffering though I
don't know what its circuit is like or how long you'd have to wait to
get one. I can only guess, but I think an amp tech who's equipped to
build pedals could knock their first JAYPHAT out in an hour or two,
it's just a dirt-simple circuit; parts are in the neighborhood of
$30. It would be a good idea to ask for parallel output jacks if
anyone is having a JAYPHAT built--simple way to split the mic signal
well.
On Jul 14, 11:31 am, Richard Hunter <turtleh...@xxxxxxxxxxxxx> wrote:
> Stephen Schneider wrote:
>
> <Yes, the JAYPHAT will prevent tone loss if you put it between the mic
> <and delay, and it's really convenient to have a stand-alone box that
> <will do that. I have only tried it with delay pedals, but it'd be
> <worth a try in front of any pedal or string of pedals because if your
> <mic's been losing anything with them, it's unlikely to sound worse
> <when you restore that content--it'll come out as clearer resolution of
> <what the pedal does.
>
> And we get this thing (or the schematic) where? I know you posted a URL
previosuly--can you re-post, please?
>
> Thanks, Richard Hunter
> latest mp3s and harmonica blog athttp://myspace.com/richardhunterharp
>
> _______________________________________________
> Harp-L is sponsored by SPAH,http://www.spah.org
> Har...@xxxxxxxxxxxxxx://harp-l.org/mailman/listinfo/harp-l
------------------------------
Message: 6
Date: Tue, 15 Jul 2008 05:24:44 -0700 (PDT)
From: mike reid <shrimpdaddymike@xxxxxxxxx>
Subject: [Harp-L] chromatic help
To: harp-l@xxxxxxxxxx
Message-ID: <329444.3521.qm@xxxxxxxxxxxxxxxxxxxxxxxxxxx>
Content-Type: text/plain; charset=iso-8859-1
I have an old chromonica 3 with an intact wooden comb, unfortunatly the
reeds are not in that great a shape a couple missing etc. my question is can i
use this comb with a old super 64 that has a crack in the comb? will it
fit?
------------------------------
Message: 7
Date: Tue, 15 Jul 2008 08:27:08 -0400
From: Javier Argomedo <jargomed@xxxxxxx>
Subject: [Harp-L] New Harping MIDI version 2.9
To: harp-l@xxxxxxxxxx
Message-ID: <487C979C.707@xxxxxxx>
Content-Type: text/plain; charset=ISO-8859-1; format=flowed
Dear all,
I just wanted to let you know that I have uploaded the latest version of
Harping MIDI, the harmonica tab software for windows, to my recently
refurbished site, it has several changes, please feel free to try it out.
The link is the usual:
http://www.harpingmidi.com/
cheers,
Javier.
http://www.myspace.com/diabluz
ps. see you at SPAH (by the way, anybody willing to share the room?)
------------------------------
Message: 8
Date: Tue, 15 Jul 2008 13:04:28 +0000
From: jandkday@xxxxxxxxxxx
Subject: [Harp-L] Big Harp Amp Sale {Meteor & Fender Bassman}
To: harp-l@xxxxxxxxxx
Message-ID:
<071520081304.29763.487CA05C0002C3C6000074432205886442970E0B050B020E06@comcast
.net>
Content-Type: text/plain
Hello all,
Before I go the ebay & craig list route I thought I would offer
my brothers & sisters of the iron 2 great gigging amps.
I have played both of them at several outdoor & club gigs
and they are both outstanding for increasing your sonic palette
& both are fully functional with no issues.
I will "super pack" them to avoid any shipping damage.
I am standing in need of some cash, so I am willing to price them to move.
1) Brand new Meteor Amp
2) Rebuilt Fenderbassman 4X10
Please call me at 610.461.7391 or email me via james@xxxxxxxxxxxxx
Thank you so much!
--
James Day & the Fish Fry
"Jump Blues & Greasy Grooves"
www.jameswday.com
------------------------------
Message: 9
Date: Tue, 15 Jul 2008 06:09:54 -0700 (PDT)
From: David Payne <dave@xxxxxxxxxxxxxxxxxxxxxx>
Subject: Re: [Harp-L] BandMaster
To: Harp L Harp L <harp-l@xxxxxxxxxx>
Message-ID: <166350.82428.qm@xxxxxxxxxxxxxxxxxxxxxxxxxxxxxx>
Content-Type: text/plain; charset=iso-8859-1
Yours is made in Germany. That Koh-i-noor from India had nothing to do with
Seydel, it was an example of what happens when you either don't register a
trademark, fail to renew it, or if you have it, how some folks just use it
anyway. All Seydel's stuff is made at the Klingenthal, Germany, factory. The only
outsourcing I'm aware of is when they used to have work done in people's
homes around Klingenthal.
Dave
_______________________
Dave Payne Sr.
Elk River Harmonicas
www.elkriverharmonicas.com
----- Original Message ----
From: sgvg <sgvg@xxxxxxxxxxx>
To: harp-l@xxxxxxxxxx
Sent: Tuesday, July 15, 2008 5:04:08 AM
Subject: [Harp-L] BandMaster
Nope mine is NOT an 1898 model. Thanks to Dave's posting of the original
sure clears the air for me. It does say registered Made In Germany trade mark.
Don't know, new at this stuff may be a way they made it in India, and looked
like made in Germany?
Stan
_______________________________________________
Harp-L is sponsored by SPAH, http://www.spah.org
Harp-L@xxxxxxxxxx
http://harp-l.org/mailman/listinfo/harp-l
------------------------------
Message: 10
Date: Tue, 15 Jul 2008 09:32:47 -0400 (EDT)
From: MANFRED WEWERS <mwewers@xxxxxxxxxx>
Subject: [Harp-L] country/western
To: harp-l@xxxxxxxxxx
Message-ID: <781937.9611.qm@xxxxxxxxxxxxxxxxxxxxxxxxxxx>
Content-Type: text/plain; charset=iso-8859-1
And I thought every harmonica player was into C&W. At the last St. Louis
convention, we even had Douglas Tate join in on a bunch of C&W tunes in one of
our "duelling Vineta" sessions in the halls in the wee hours of the morning.
I am certainly not in the top echelon of harmonica players (I'm working on
scratching the bottom), but over the last few years, have participated in a
number of forums and seminars. I thought and still do that you need just step
forward and offer your services.
Manfred Wewers
------------------------------
Message: 11
Date: Tue, 15 Jul 2008 09:38:15 EDT
From: MilwHarmonica@xxxxxxx
Subject: [Harp-L] Re: Suzuki Soprano Single, Alto Single
To: harp-l@xxxxxxxxxx
Message-ID: <c7e.17226df1.35ae0247@xxxxxxx>
Content-Type: text/plain; charset="US-ASCII"
Hello, William Galley.
The Suzuki Soprano Single is a 3-octave slideless chromatic, C-C, with the
range of a traditional solo system slide chromatic in C
(with no high C# or D). It's a blow-only instrument.
The Suzuki Alto Single is a 3-octave slideless chromatic, C-C, with the
range of a solo system tenor slide chromatic in C
(with no high C# or D). It's a blow-only instrument.
I own the Alto Single, but don't use it very often. I don't own the
Soprano.
But I prefer the range of the Alto, anyway.
Both harmonicas listed here are beautiful, high quality musical instruments
with perfect tone, from the lowest to the highest note.
Playing the Alto is a pleasure. Each note is pure and clean. There are only
a few problems for me. They may be no problem for other players:
The covers are a soft brass on my Alto, and bend out of shape if using a
firm grip. Hold the harmonica lightly, and there will be no problem.
The instrument is large, at approximately 12.5" wide (left to right) X
almost 2" high (at the audience side), X almost 2.25" deep
(mouthpiece side to audience side). It weighs over a pound.
The notes are farther apart than on a slide chromatic, and that takes a
period of adjustment. The instrument is easier to learn than a bass harp, a
2-deck insgtrument that has a similar note placement system.
If my mustache is just long enough, the covers catch a hair or two, and
that's painful (that's not the manufacturer's problem, it's my problem).
It has a high quality wood case with strong hinges and clasps, with a
strong
handle. If you have the money, try one. They are expensive. The last time
I
checked, they were around $300 each.
John Broecker
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------------------------------
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End of Harp-L Digest, Vol 59, Issue 61
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