RE: [Harp-L] Re: An Amazing Performance



I feel strongly both ways...lol.   I think everybody is in violent agreement on the necessity for a strong performance and the skills to do it.  I am relatively new at harp and amplified harp.  I do both in my band, as well as trumpet, vocals and conga/bongo/hand percussion, even guitar, bass or mandolin as needed.  For me, the gear is important within the context of what you are trying to do as a musician.  Each of us will differ on what that means.  I try my best to read and discuss gear with "gear-heads" keeping this in mind.  My lead guitar player is an outstanding musician and gear head.  I have mentioned to him that the audience really won't care much about tone nuances at the level he is playing. His position is that if he cares, his playing is affected.  I have to agree.  I play much better when i think I sound "right" on the particular number I'm doing.  That's why I use the PA, my harp rig..and even both on my trumpet ..to get the sound i am looking for to make me play my best.  I do believe most of the tone quest is lost on MOST audience members.  Like overblows...i need them to play chromatically, but the audience simply expects the right notes to come out.  My .02 on my first post.

> 
> Um... well...
> 
 > Quite frankly, there are a LOT of us who do care about our  
> amplification...
> 
> Here's what you're missing: You see, the AMPLIFIED harmonica player  
> considers his equipment to be a vital link in the chain that is his/ 
> her sound. I consider it to be quite literally another instrument  
> altogether, and attempt to understand it, play it and take care of it  
> in this manner....
> 
>.... Playing amplified CORRECTLY is "delivering the goods" in my  
> book. Nothing like a thin, lifeless, weak amplified sound to spoil the  
> performance...
> 
> > Clay Kirkland has, in the instance described by Rick, demonstrated a  
> level of ability in amplification that is difficult to achieve  
> considering the suspect quality of his equipment. Those of us who  
> understand what he's achieved applaud him, even if some of us don't  
> agree on his choice of equipment. His amplified technique and it's  
> impact in his message is incredible. And it's the sound, the texture,  
> the dynamics of amplified playing that is a part of his music and was  
> no doubt a very major part of Clays performance, otherwise he would  
> not have considered playing amplified AT ALL....
> 
> Consider Rick's blog:
> http://bluesharpamps.blogspot.com/
> It's primary focus is understanding and discussing amplified harmonica  
> playing. I know what he's trying to say.
> >  
> Ray.
>
> >
> > It is? THAT is what you think is the 'really amazing part'?   ???!!!
> > What am I missing?
> >
> > I must be terribly naive. See...here I'm thinking that
> > 'The really amazing part' is that he achieved something  
> > extraordinary...
> > played well enough to garner major applause and kudos from an  
> > audience of his
> > peers....
>> >
> > If I'd been there I wouldn't have spared a thought towards what he  
> > played  through... wouldn't have noticed at all, in fact. All I'D have heard  
> > was his
> > actual playing, and the effect it had on me and the audience, and  
> > whether
> > or not  I liked/enjoyed what I heard....
> >
> >.....Can he/she deliver 'the  goods'? -  
> > is far
> > more important.....  IS he/she a player?.... Does  he/she move  
> > me?...are far
> > more important factors in what I think of as a  great  
> > performance...JUST as
> > I would that of any other instrumentalist.
> >
> > Elizabeth
> 
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