Tony Prior wrote:Ahh yes, the OLD TONE argument re-appears as the final say in the argument.
So what is the definition of good tone ?
Somebody's opinion..simple.
he has good tone..according to me...
Someone else hears it differently, are they wrong ?
evidently so according to some in this thread...
"If you don't have brand X tone then you have bad tone"
Can you actually play the dang thing that has brand X tone ?
Ah I knew this would be good for an... achhmm.. laugh.
Too add some gasoline:
I can just play three scales on a flute, but I DO know Hubert Laws, Jean Ckaude Rampall and Joe Farrell have great flute tone.
Each hass a different tone.
I can't really play squat on a piano,
But I sure know when I got the piano sounding good,
or not in a mix I am engineering, or when listening.
Enough so that the second engineers once sent for
the lead house engineer in another studio,
to come in and see and hear my micing to capture
the best tone in THEIR Yamaha grand piano.
I know what I like, and YET
it differs in different contexts, some times radically.
No one tone should or CAN be considered the ne plus ultra of tone.
My prefered tone might be completely different
in one band, than in another. On any instrument.
So somtimes it IS RR.'s tone
and other times Big E's
and others still Tommy Morrells
and yet again Dan Tyack's.
It would appear at least half my last list
wouldn't fit Calvin's view point.
But EACH no matter HOW different is still
a variation of TONE,
and each can and should be allowed it's place in
our instruments global sonic pallet,
if we are to allow for the development of
our instrument PSG/NPS to it's fullest potential.
If we as steel supporters 'agressively limit'
what it CAN be,
then we narrow it's future
and it's prospects for onward and upward growth.
Why hold back the instruments progress,
just because the style and usage doesn't fit
YOUR personal view of what it can do.
DLD, Chili farmer. Plus bananas and papaya too.
Real happiness has no strings attached.
But pedal steels have many!