[Harp-L] Re: Amp overkill - Long

[Ray Beltran <raybeltran@xxxxxxxxxxxxxxx>]

On Feb 1, 2009, at 6:08 PM, harp-l-request@xxxxxxxxxx wrote:

> Am I getting this right? We are ASSuming that the only reason one  
> would use
> larger amps is for louder. There are some who prefer the SOUND of  
> larger
> amps to that of squawky little amps, even if the decibel level is  
> low. I
> have a few small amps, use them for practice, I have a 56 champ w/a 6"
> speaker, great for playing along with the stereo. But with drums and  
> bass I
> want some wattage and speakers, even at lower volume. I do  
> understand that
> many like the sound of small amps cranked up, but that's not for  
> everybody.
> James


THANK YOU, James.

Volume has little to do with it. It is there, in one's back pocket,  
should one need it. But it's not a full understanding of amplified  
blues harmonica if one is thinking that big equals ONLY more volume.

Before I start my rant, it's interesting to note that small amps in  
the 5 to 8 (maybe 10)-watt range have been categorized by their  
designers since their inception as "Practice Amps."

I posted a link to a sound file of me playing what many consider one  
of the loudest harp amps (or guitar amps, for that matter), a Fender  
Super Reverb. I set out to show the small amp contingent that just  
because you have all that power and speaker area doesn't mean you have  
to play loudly! That you can, in fact, have good tone at low volume  
with a big amp IF your technique is correct. In the sound clip I'm  
playing intentionally much lower than I would in a duo, but I wanted  
to show just how low you could go volume-wise with a big amp and still  
maintain reasonable tone.

It was insinuated by someone during this thread that there may be some  
players who are trying to disguise their lack of ability by playing  
loud. How absurd! The louder you are, the EASIER it is to hear mistakes!

I opine that these small grind-from-the-word-go practice amps are a  
cover for SOME harp player's lack of abilities by way of generating  
what they consider to be "tone" when, in fact, it is the amp's  
overdriven sound creating this noise. It's easy to hide lack of  
amplified technique, or even mastery of the instrument if the amp is  
creating something that appears to be "da blues tones", and doing it  
all for you. A constant theme regarding gear is that "the player  
matters more than the gear." Yet some in this same contingent are  
relying on an extreme overdrive to create what they consider to be "da  
blues tone"!

There's a certain level of compression that is necessary in order to  
realize an amount of coloration that separates acoustic from the  
amplified harmonica sound. But to take it overboard, and to USE IT ALL  
THE TIME, rather than as a dynamic, is missing the point entirely.  
Where does one get the idea that amplified harp must sound this way?  
The sort of sound I hear many players using is indistinct mud. No note  
distinction or clarity. I can only surmise they are hiding behind this  
noise due to a lack of musical ideas or the inability to express them.  
"Yeah, man.... that's tone... dat's the blues, baby."

Far from it.

There is nothing more enjoyable in amplified blues harmonica than  
having you and your amp at a relaxed, toneful state, ready to  
overdrive on that phrase or note to emphasis a point, or to use as a  
dynamic. Comping is certainly more enjoyable with full-bodied horn  
stabs that have distinction of note. An overdriven sound in that  
scenario calls too much attention to harmonica (too great a  
contrasting texture) and distracts from the current focal point in the  
piece, be it singer or instrument soloist.

There is no effort in firing up a small amp and getting it to  
overdrive, to sound like you have a semblance of tone. And maybe you  
do. But to learn to "tame the dragon", to "part the wild horse's mane"  
by dialing in a large amp and project the tone you're looking for AT  
THE RIGHT VOLUME FOR THE VENUE calls for some experience and a  
learning curve. I think it's absolutely necessary to have this  
knowledge and experience if one it to call oneself an amplified blues  
harmonica player. I can't tell you how many times I've run into guys  
who don't know their gear and how to "move it". They're fighting  
feedback all night long, or twisting knobs at every opportunity. (They  
can tell you whether it's tweed or tolex though!) You've got to learn  
to dial in a good sound so that in any situation you've got it  
covered, and your only concern is what it should be - that is, making  
music. Jerry Portnoy told me that he sets up his amp at the sound  
check for the right tone. Once the music starts, he makes one, TWO  
adjustments MAX during the first song, and doesn't touch it again for  
the rest of the night. When I opened for Kim Wilson, he spent the  
better part of an hour dialing in his real '59 Bassman, going between  
a couple of mics, adjusting the sound, tone and projection of his amp  
until he didn't have to think about it any more.

There is no "mystique" regarding the Bassman and it's use it this  
style of music. Heck, I have a GREAT recording of the late Sam Myers  
using TWO of them at a performance in So. Cal, and he was neither loud  
nor overdriven. I've never heard a better sound from a Super Reverb  
than how Anson Funderburg sounded that night. Just on the edge of  
compression, distinct, tone, tone, tone. But not loud.

I'll never forget the time I saw Gary Smith play for the first time.  
His Bassman, and nothing else, sat stop a small riser in a hotel  
conference room in San Jose, California at one of David Barrett's  
Harmonica Masterclasses sometime in the 90's. Sitting in the front  
row, I thought, "He's gonna blast me clear to the back of the room."  
He slowly walked to the stage, and reaching for his chrome JT30, sat  
atop the amp. "...Here goes; I'm ready for the onslaught." Gary went  
on to play some of the most toneful, smoothest, most beautiful solo  
blues I've ever heard, and NONE of us were overwhelmed by his volume.  
Perfect. Spot on. I realized then that there was more to playing  
amplified than just "plugging in and blowing." He was working the amp.  
Player, harmonica, mic AND amp were as one.

The mystique to me is why, in some people's minds, overdrive equals  
blues...

How many of you really enjoy the sound of overdriven guitar all the  
time? Heavy Metal fans notwithstanding, of course.

Then there's the contradiction of players saying the want to sound  
like a horn, but insists on a constant overdriven sound. Now maybe  
it's me, but I've NEVER heard a trumpet or sax sound like the box of  
bees some small amps and their owners like to produce ad nauseam.

So when you say you "want to sound like a horn", what do you REALLY  
mean? Are you just saying something that sounds hip and cool as a harp  
guy? Or are you seriously searching for that sort of tone from you and  
your gear?

Small amps are very limited in what sort of performance situations  
they can cover without the help of a soundman. My experience with  
sound personnel is inconsistent enough for me to steer clear of that  
factor if possible. Some of their notions of what harp should sound  
like is straight out of Paul Shaffer's book. I do agree with Mike  
Fugazzi that you should have SOME bleed in the mains. But to be  
entirely at the whim of the soundman is asking for a night of "...wha  
hoppen?"

I also agree with Iceman; there's no way a big amp is EVAR going to be  
heard at that Blues Festival without the help of sound reinforcement.  
You never look for overall volume. Instead, you dial up what you  
consider to be the amp's sweet spot and let the sound people do the  
rest. I do my homework, though, and see what other harp players have  
been sounding like prior to my set, and meet with the sound people. I  
try to casually ask the main man how he's adjusting harp. And I'm able  
to listen, from his vantage point, just what he's hearing. A pat on  
the back, a sincere "thank you" for all the hard work, and a polite  
request of what you'd like to sound like... get right with the sound  
guy, that's what James Harman taught me.

Don't get me started on the weight of our musical equipment. I say  
whatever is necessary to get the sound you desire. Something tells me  
some are using the weight issue as an excuse. I don't hear anyone else  
- drummers especially - complaining about weight of gear but for  
HARMONICA players, with our itty bitty little harmonicas and mics.  
C'mon, fellas... I did a gig with a guy who shows up with his van,  
tailpipe draggin', opens the back doors and sitting there is a  
gorgeous Hammond organ. We hoist that bad boy up to the stage, but it  
was a small price to pay for hearing that smooth sound all night long.  
At the end of the night, we brought her back down and loaded her up  
nice and easy. Down the road he goes, tailpipe dragging, his Hammond  
stuffed in the gutted van. Don't ask me what he did when he got home.

 My Super Reverb clocks in at nearly 65 pounds. I'm 5'6". I'll be 50  
in March. The thing's on wheels. Were it not, I'd use a case carrier.  
From the PARKING LOT (and special area for musicians to load-in) to  
the STAGE... BIG DEAL!!! Whatcha all whinin' about? What's a bag of  
golf clubs weigh? And you're lugging that thing all over the course,  
ain't ya?

I don't like playing loud. I like playing tonefully, and I like a full- 
bodied sound from my amp, with plenty of headroom and performance  
flexibility. I don't mind playing through a small amp if I have to,  
but the performance envelope is so narrow, I feel like I'm walking the  
proverbial tightrope. I don't like too much overdrive because I want  
to communicate the notes and musical ideas I've decided to share with  
the audience oftentimes in a clear and distinct manner. Small  
"practice" amps, more often than not, don't afford me those luxuries.

Whether it's right or not, you know when you walk into the jam  
carrying an amp the size of a lunchpail that it projects a certain  
stereotype of harmonica players to musicians who often really don't  
know any better anyway - again, think Paul Shaffer. I've stated  
previously the main reason why I like big amps. The following can be  
an added "bonus" - the impression they make when setting it on stage  
can be a X factor to those with 'tude towards harmonica players. You  
didn't show up with your practice amp and won't be making a pain of  
yourself asking for an extra mic and to be plugged into the  
soundboard, you're making a statement of physical presence and taking  
up some real estate, and you're sending the message that you're  
experienced enough to tame the beast a large amp can be.

Rant (not intended to offend) over.

Ray.
--
My Music – www.resgraphics.com/music