Bobbe Seymore> Todays email news letter (bosstone)???
Moderator: Shoshanah Marohn
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Fiddle sound? YES!!
If anyone has any doubts that a steel can sound like a fiddle, then just buy Bobbe Seymore's video "Live In Concert, Gene Oneal and Bobbe Seymore"
Bobbe backs up Rob Parker on the song "A Way To Survive" , and Bobbe plays a couple of bars that sound very much like a fiddle. He plays single string riffs, not the unison string thing. I don't know what he was using, but it definately sounded like a fiddle. That's what I've been wanting to learn to do, but I'm a long way from getting the right tone. Get the video and listen.
Terry
Bobbe backs up Rob Parker on the song "A Way To Survive" , and Bobbe plays a couple of bars that sound very much like a fiddle. He plays single string riffs, not the unison string thing. I don't know what he was using, but it definately sounded like a fiddle. That's what I've been wanting to learn to do, but I'm a long way from getting the right tone. Get the video and listen.
Terry
1997 emmons legrande lll 8&5/ Nashville 112 with Fox chip mod LTD 400 / American Tele / John Jorgerson Takamine/ W/S Rob Ickes model dobro/
"May God Bless America Again"
"May God Bless America Again"
RogerRoger Rettig wrote:Back then, most in-line gadgets would adversely affect one's tone - I always thought the Boss-Tone was particularly bad in this respect.
I applaud his ingenuity, but Bobbe's newsletter is, essentially, a selling tool. Nothing wrong with that, of course.
I understood from Eric Snowball at the time that I bought mine that the circuitry was in 'straight through' bypass mode when the Boss Tone was switched off. Eric knew his electronics.
I have to agree with Bobby Lee that things have improved synth-wise since those long ago days. I have some incredible sounding string synths in my music room. However, the Boss Tone is a very good option for some.
Show Pro D10 - amber (8+6), MSA D10 Legend XL Signature - redburst (9+6), Infinity SD10 (4+5) Sho-Bud Pro 111 Custom (8+6), Emmons black Push-Pull D10 (8+5), Zum D10 (8x8), Hudson pedal resonator. Telonics TCA-500, Webb 614-E,
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fiddle
Yea Tony, I wish Bobbe would do a DVD, explaining how he got that fiddle sound. I understand to think fiddle, and play like a fiddle, but it's my tone and the amount of fuzz that I can't seem to get.
Maybe Bobbe will show us on the youtube video he said he was goin to do. The only problem with youtube, is I have dialup. It takes forever to download a video.
Terry
Maybe Bobbe will show us on the youtube video he said he was goin to do. The only problem with youtube, is I have dialup. It takes forever to download a video.
Terry
1997 emmons legrande lll 8&5/ Nashville 112 with Fox chip mod LTD 400 / American Tele / John Jorgerson Takamine/ W/S Rob Ickes model dobro/
"May God Bless America Again"
"May God Bless America Again"
- Roger Rettig
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You're quite correct, Ken. I phrased that badly. I meant that I found the sound of the unit in operation was devoid of any real tone - and just had the effect. It would have worked better for me had some warmth been retained.
I should stress that these are now dim memories - it's been an awful long time since I tried one!
I should stress that these are now dim memories - it's been an awful long time since I tried one!
Roger Rettig - Emmons D10
(8+9: 'Day' pedals) Williams SD-12 (D13th: 8+6), Quilter TT-12, B-bender Teles and several old Martins.
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(8+9: 'Day' pedals) Williams SD-12 (D13th: 8+6), Quilter TT-12, B-bender Teles and several old Martins.
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I use an original Jordan Electronics BossTone. I haven't ever used it to re-create a violin, but I will say this: Bobbe is absolutely correct that it takes practice to be able to achieve optimal benefit from it. I use it primarily to create a square-wave or "fuzz" effect for rock-music.
The BossTone has two controls: effect level and gain. The gain is just that. I rarely set the gain higher than the dry output signal. The effect level is another issue, altogether. It's sensitive to string attack as well as to the strength of charge left in it's battery. A desired setting with a new battery will not be the same as the battery weakens. Also, if you open up the effect level to maximum, as Bobbe indicates in his YouTube tutorial, it becomes a very tricky device to use. The BossTone is ultra sensitive to it's incoming signal. If you set the effect at it's highest level and you're not familiar with it (read that well-practiced), a lot of high frequency harmonics and "bee-in-your-bonnet" sounds will emanate from it. Bobbe's demonstration employs single string picking. However, other (non-violin) effects can be achieved with 2-string picking. Usually the I and the V intervals. NOTE: If you pick more than two strings or it you if you pick the III and V or I and III intervals it will tend to sound like a train-wreck. Also, your picking and blocking techniques will need to be very precise, as the BossTone is sensitive to these, too.
For my needs, I set the effect just beyond the transition from dry signal. At that setting I get something akin to (I didn't say identical to) an overdriven tube amp sound. As the battery weakens this threshold will take on slightly different characteristics and adjustments have to be made.
As I said before, picking attack is a big part of how good or bad the BossTone can sound. Botton line: If you're looking for state-of-the-art effects, this ain't it. But if you want a decent low-tech effect for achieving tube-overdrive or "string" effects, and are willing to spend time adjusting and playing through it, the BossTone will get the job done. Without practice it WILL sound just as awful as b0b and Bobbe have said.
Oh, one other thing: The Jordan Electronics BossTone has micro-minimal to no effect on guitar tone in-line and switched off. I don't know how subsequent versions compare as I've never used one of them.
Hope this helps.
Keep on pickin'!
Glenn
The BossTone has two controls: effect level and gain. The gain is just that. I rarely set the gain higher than the dry output signal. The effect level is another issue, altogether. It's sensitive to string attack as well as to the strength of charge left in it's battery. A desired setting with a new battery will not be the same as the battery weakens. Also, if you open up the effect level to maximum, as Bobbe indicates in his YouTube tutorial, it becomes a very tricky device to use. The BossTone is ultra sensitive to it's incoming signal. If you set the effect at it's highest level and you're not familiar with it (read that well-practiced), a lot of high frequency harmonics and "bee-in-your-bonnet" sounds will emanate from it. Bobbe's demonstration employs single string picking. However, other (non-violin) effects can be achieved with 2-string picking. Usually the I and the V intervals. NOTE: If you pick more than two strings or it you if you pick the III and V or I and III intervals it will tend to sound like a train-wreck. Also, your picking and blocking techniques will need to be very precise, as the BossTone is sensitive to these, too.
For my needs, I set the effect just beyond the transition from dry signal. At that setting I get something akin to (I didn't say identical to) an overdriven tube amp sound. As the battery weakens this threshold will take on slightly different characteristics and adjustments have to be made.
As I said before, picking attack is a big part of how good or bad the BossTone can sound. Botton line: If you're looking for state-of-the-art effects, this ain't it. But if you want a decent low-tech effect for achieving tube-overdrive or "string" effects, and are willing to spend time adjusting and playing through it, the BossTone will get the job done. Without practice it WILL sound just as awful as b0b and Bobbe have said.
Oh, one other thing: The Jordan Electronics BossTone has micro-minimal to no effect on guitar tone in-line and switched off. I don't know how subsequent versions compare as I've never used one of them.
Hope this helps.
Keep on pickin'!
Glenn
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Space Echo
Ok Mr.Seymore...
Would you Tell us all how to get that good full delay and reverb sound out of the space echo ?
I wanted the unit and it was bough for me from you by a lady friend of mine and its about to drive me crazy.
Would you please tell me how and what setting to use on this unit?
I have a RV3 and I love the sound i get from it" Mode set on # 7... R.Time set at 12:00 Oclock ..Tone set at 9:00 Oclock and Balance set at 9:00 oclock So there has got to be a setting that i can get to match the RV3 plus all the other good stuff that the space echo has to offer...
I know you have the answer so were all waiting.
Would you Tell us all how to get that good full delay and reverb sound out of the space echo ?
I wanted the unit and it was bough for me from you by a lady friend of mine and its about to drive me crazy.
Would you please tell me how and what setting to use on this unit?
I have a RV3 and I love the sound i get from it" Mode set on # 7... R.Time set at 12:00 Oclock ..Tone set at 9:00 Oclock and Balance set at 9:00 oclock So there has got to be a setting that i can get to match the RV3 plus all the other good stuff that the space echo has to offer...
I know you have the answer so were all waiting.
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I remember Marty Robbins' steel player using a bosstone on Don't Worry 'Bout Me, years after the original recording was made. In the original recording it was lead guitar extrordinare Grady Martin that had a tube go bad that caused that buzz.
Marty and the producer said it sounded cool so they left it in the mix. Marty's steel player was using a bosstone made by Sho-Bud in live performances of the song. I have also seen the bosstone used by steel players on the Opry and to me it sounded like a string section performing on certain songs. It all comes down to personal choice. If we all want to sound like someone famous, then Dan Hulihen would like to offer lessons. Because,we all like to buy the gadgets and gizmos to enhance our sounds.I know because I am just as guitly as the next. I try so hard wanting to duplicate Buddy's tone or sound or John Hughey's. Don't get me wrong, I would love to. But that is virtually impossible.So instead, I have to work on a style or tone that would be pleasing to me,Tommy Shown. Just Bobbe Semour, has to work on his style or tone that is pleasing to Bobbe. We all have to do the same. Please allow me to say this in closing. I am not saying anything to discourage anyone, I am only trying to encourage people to work on their own style and tone. Tommy
Marty and the producer said it sounded cool so they left it in the mix. Marty's steel player was using a bosstone made by Sho-Bud in live performances of the song. I have also seen the bosstone used by steel players on the Opry and to me it sounded like a string section performing on certain songs. It all comes down to personal choice. If we all want to sound like someone famous, then Dan Hulihen would like to offer lessons. Because,we all like to buy the gadgets and gizmos to enhance our sounds.I know because I am just as guitly as the next. I try so hard wanting to duplicate Buddy's tone or sound or John Hughey's. Don't get me wrong, I would love to. But that is virtually impossible.So instead, I have to work on a style or tone that would be pleasing to me,Tommy Shown. Just Bobbe Semour, has to work on his style or tone that is pleasing to Bobbe. We all have to do the same. Please allow me to say this in closing. I am not saying anything to discourage anyone, I am only trying to encourage people to work on their own style and tone. Tommy