Dennis Smith wrote:H Steve
It was the one on your webpage listed as atl institute of music 2008. I thought is was E. What was the steel and rest of your rig on that song? Is that a custom steel? What effects or system are you useing? The steel just sings and sound so big.
Dennis
The steel is 26" scale no-name, with 2 DiMarzio PUs. On that gig I was using a Peavey JSX all tube head, through whatever cab they had there. No effects on that one, just the "crunch" channel on the amp.
Part of the reason it sounds so big is it was a pretty live hall, recorded on a camcorder from halfway back...lots of sound bouncing around!
I really like the way you two make that work. I think, as a steel player, you have to have an upright bassist who really understands he's the bassist AND the drummer (rhythm guitarist) (back beats for the missing uke, guitar or snare). Only down beats won't cut it, and in your case, he does this role really well. I also like our sacred steel style phrases and melodic lines. Really well done! I hope you're getting a good response from folks.
Todd Weger wrote:I really like the way you two make that work. I think, as a steel player, you have to have an upright bassist who really understands he's the bassist AND the drummer (rhythm guitarist) (back beats for the missing uke, guitar or snare). Only down beats won't cut it, and in your case, he does this role really well. I also like our sacred steel style phrases and melodic lines. Really well done! I hope you're getting a good response from folks.
There are lots of challenges with this duo, but trying to maintain a backbeat presence is probably the biggest one. Rob is definitely working overtime to keep things chooglin' along!
Did I see you change the tuning of a string on the fly, just as your superb bassman took his ride on "Like a Virgin"? Is that a doable thing with the Hipshot?
Paul DiMaggio wrote:Did I see you change the tuning of a string on the fly, just as your superb bassman took his ride on "Like a Virgin"? Is that a doable thing with the Hipshot?
Yes, the Trilogy is great for that. I very rarely have to tweak any of the tunings.
You are not ALLOWED to play Madonna & Spitbeef Neers "songs" on those instruments! Damn it, does NO ONE have any standards anymore? (peep)
"What?" "WHAT?... oh. O.K., then." - The Mothership just beamed down an exception permit, but you'll have to renew it every six months. Actually, we need far more of this, preferably at the expense of "Roly Chromoly", "Veal Cigar... Stag?" and "Perdido - or Perdid-me not?"
You have some serious control over your vibrato, dude. Do you practice twos-to-the-beat, threes, fours etc, or just feel it? Cause you're playing them both straight up and triplets... if that's just instinct (and willful & researcher-y listening) you coulda been a really rich bond trader.
David Mason wrote:You have some serious control over your vibrato, dude. Do you practice twos-to-the-beat, threes, fours etc, or just feel it? Cause you're playing them both straight up and triplets...
I appreciate it Dave. Most of the rhythmic phrasing probably comes from my "armpit" guitar playing...the use of poly-rhythms and playing on various parts of the beat.
Steve, I'm a little late to the party but man, I really enjoyed hearing and seeing these! I love to see people tackle new material on the instrument - it's such a wide open canvas and we don't need any more renditions of Sleepwalk!
