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Listening and Streaming Paul W. on WREK

Discussion in 'Recordings [DB]' started by Silversorcerer, Mar 8, 2005.

  1. Go to this link http://cyberbuzz.gatech.edu/cgi-bin/cgiwrap/wrek/now_playing.pl and check out the Paul Warburton quartet on my favorite jazz show, Just Jazz, on WREK. Paul was most recently broadcast on Monday Morning 03-07-2005 11:16 AM. You can stream the show or selected portions of the show at the WREK streaming archive page: http://www.wrek.org/stream/schedule.shtml

    This is a great show, no commercials and very little chat. A very good way to hear all the great players do it. I've listened to the broacasts live for years and now I can stream it any time from any where. I consider it one of Atlanta's premium assets. :smug:
  2. Hey Silver, thanks for the Link. I couldn't find it, but that's OK.....I've heard myself before.....Arghhhh!
  3. Thanks, Patrick.....
  4. That was recorded live wasn't it Paul? Can you perhaps shed a little light on the gear you were using and the recording technique? It was a totally tasty and smooth performance. A good "live sound" recording, too.
  5. This was recorded at a piano store in Denver called Wells Music. They have a small, intimate 'Performance Auditorium' that holds maybe 50 people. A Steinway Concert Grand Piano that Eric Gunnison fell in love with. With a room this size and a great piano that size, half your problems are over. The recording equipment was all state of the art for 1997. Since i'm not a 'Gear Geek', I can't tell you the exact names of the mics and equipment that Synergy Music used. Mike Fitts, the engineer and Pres of the label had vast experience recording jazz and it shows. He put one mic in front of my bass. I was playing my five string Joseph Bohmann with the low B. You can see it on the TalkBasses, when the new version comes out. The 'infamous' TBDB Warburton Nostril shot was taken from this session. You can see that shot under 'What Do TBDBers look like?' I can't remember what Forum Heading it's under.
    As usual I had my 12" Polytone behind the Bohmann on a KMD Amp stand. I use a stool when I play. The Bohmann has an Underwood pick-up on it. The Underwood works great for picking up all 5 strings equally. The two transducers on each side of the bridge seems to be the only answer for that bass.
    I barely had the amp on. I feel using the bass as a sound baffle....the amp right behind the back of the bass is a comfortable set up. The ambient sound of the amp coming out from the back of the bass insures that the audience never hears that cold, amped sound directly.
    Eric Roy from Upton Bass has sent me one of thier new Revolution Solo Bass Pick-ups to try. I'm looking forward to that for my other basses....I'm not sure if it'll be appropriate for a fiver. We'll see.
    By the way, the other great players besides Eric Gunnison are: Ron Miles on trumpet and Nat Yarbrough on drums.
    Thanks for your interest Silver!
  6. And thanks for that detailed response. There are number of great techniques in there that are I might try, particularly the amp-on-stand behind the bass body. I'm not crazy about the raw amped sound either. I'm moving to a 5-er and I wonder if the two tranducer arrangement you use with the Underwoods would work with two K&K BassMax transducers (1 mounted in each bridge wing). Are the Underwoods in the bridge wing slots or mounted at the top of the bridge?
  7. I notice you're using Underwood in the plural sense-Underwoods. Although there are two transducers involved, it's singular...Underwood.
    The Underwood is the only pick-up i've tried on the Bohmann. It works so perfect that I had no reason to try another. There may be another PU out there that works as good or better. I'm just thinking with that five string spread the two transducer route was the only way to go. The only reason I haven't tried the Realist is that I refuse to move the bridge.
    Keep in mind that the Bohmann is an extremely DARK bass sound wise.
    I don't see any reason why you shouldn't try that BassMax.
    As you probably know the inherent sound of your bass is most important as far as the results of your amplifing issues go. I would have gone ampless on this session, but with a Concert Grand piano and Eric's poping touch, and the pocket provided by the bass and the drums, plus the fact that most of this bands performances were in loud bars and such.....I try to have the same amount of volume coming from the amp as is coming from out of the basses F holes.
    And yes I have the transducers mounted in the wings of the bridge.
  8. forgive me for going slightly off-thread, but the lead post here revived a fond memory.

    I may be dating myself, but who here remembers this:

    " . . . . Ed Beach . . . . Just Jazz. . . " . . . ?
  9. I have the fiver now and I do use the BassMax all by itself. It works great. I'm still thinking of trying the Underwood out. Another player here uses one of those and his bass really comes through. Also, I've moved my cabinet up onto a stand and that is helping me hear myself much better as well as the other benefits.
    So true. All of my other old equipment from the BassMax out sounds much better with my new carved bass. I thought all of my equipment was cheesey;- turns out it was mostly the bass. Again, thanks for all the tips, Paul, I'm workin' them in.
  10. So what did you get for the fiver? Pictures?
    The only negative, if it really is, when the amp is that close to you, is that you tend to play with the knobs alot. I do it mainly on quiet ballads, because, if you've just finished a hard swinger you don't want the same volume for a quiet one.
    Anyway, you're more than welcome for the tips and i'm glad it's coming together for you.