I like GFR more now than back then. I'm amazed at how much Mark's mic stand is bouncing around. Sound man's nightmare on live t.v.
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I like GFR more now than back then. I'm amazed at how much Mark's mic stand is bouncing around. Sound man's nightmare on live t.v.
Bouncin' mics abound. Here the guys look as if the director said,"guys could you just not move around so much?"
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Hey guys for you distortion lovers go listen to live Jimi Hendrix too Noel Redding liked the Marshall on 10 sound too.
Though I am not a fan, I have said a lot simply because I know how the phenomenon works, bouncing mics included.
Since this is getting way off topic from SG EB, maybe you guys should start a cranked tube amp lovers thread.
Though I am not a fan, I have said a lot simply because I know how the phenomenon works, bouncing mics included.
Since this is getting way off topic from SG EB, maybe you guys should start a cranked tube amp lovers thread.
That was Jack Bruce in West Bruce & Laing, I feel he got the tone he wanted usually although maybe sometimes as you say he may have wanted his sound a little cleaner live with Cream. I agree Felix was sometimes too distorted live, Sunn 2000S heads put out at the most 150 watts, he used 4 or 5 of them but still not a lot of power for the rooms he played. I saw them a few times during the early 70's and he always sounded boomy, was the 2000S cabs, I had a couple when I was a kid, would shake the building to pieces though with a Marshall Major head.
Check out especially 07:44, monster EB-3 (to keep it on topic) Jack Bruce playing.
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Does not qualify apparently.
oh, well. I still like it and I like this thread.
Rule number 1 in post number 1 says it qualifies (unless you fall into rule number 2).
Rule number 2 is easy enough to get around, just take the Gibby or Eppi truss cover off, assuming it's a counterfeit, and call the bass a Tribute bass.
No Coffee in the Cabinets this Wednesday morning.. I posted my double Dose of stimulants! Thud!
Lazy truss rod covers. Spring adjustment time. Thudsville family shot.
in
I listen to "Never In My Life" every day. A Gibson EB-1, and a wall of Sunn amps.
what a great song, especially live, in their prime! what a shame there is such a lack of top shelf Mountain to enjoy cos for me in the day they were a confusing love / hate mess which kept me from 'getting it' re Felix. the hit n miss studio LPs didn't have the impact and nastiness of a live show, and even live it depended all on Leslie being 110% inspired to take it to the utmost. plus, they rarely came out West to So. Cal and I blew the very few chances to see them pre '72 breakup. but thank god for the internet and glimpses of proof to the intensity of a great show, and that's despite their inabilities or unwillingness to perform in a cohesive streamlined fashion to avoid blowing the momentum a tune like NIML created. they were an extreme product of that era (very laid back in attitude on stage) and maybe only thx to Bill Graham's enthusiasm for them and the mega hit Mississippi Queen did they have any big success at all. for me they had brilliant moments of pure perfection and when it was really good only a few could begin to compete, it's not often that Jimi Hendrix would express concern over another guitarist but Leslie was in that rare air. as far as Felix, he was unique, it cracks me up every time I crank up the good stuff to hear his over the top insanity lol it takes huge balls to even think of making such an otherwise unmarketable noise and expect to get rich off it! and boy did he know how to make money with Mountain, he had a finger in every pie and Leslie will go to his grave resenting Felix on those and other points, kinda sad in the end.
oh but the good times...
Ironically
Good passionate post though; enjoyed reading it. Gonna go listen to some Mountain
That looks like one of the original 50's Gibson violin basses Felix is playing in the picture. There's one on Reverb in museum quality condition for a mere $15,000 if anyone has the extra cash lying around to pick it up.
I'm pretty sure the one in the pic is his '69-ish reissue and they've doubled in price the last few years to over 4K, but I know of only 1 buyer for any of the violins and that was @Bflat here who got a nice early one last year off another TBer and has examples of nearly any historic bass you can name. the early EB-0/1s had the plastic PU covers vs the metal as seen above for the reissues IIRC, and if there's any bass in my dreams it's these, but Bass Santa hasn't been cooperating lol
That's the one he played when I saw Mountain in a 1000 seat converted old movie-house in Detroit called The Eastown Theater in the early 70's.
I was kinda disappointed because his signature tone was one of the most in-distinct live bass tones of any of my 'heroes' of that time.
Years later I've come to realize that that particular tone records ok, but sucked live. Even with his wall of (formerly Hendrix owned Sunn amps and cabs).
One of those tones you feel more than hear.
those type of basses / PUs have to be the least room-friendly ever made and likely need special considerations by all involved to be anything but a hot mess, but as you kinda mentioned most soundboard recordings come off pretty well and even crappy bootlegs of those earlier shows often display the goods better than expected. I'm betting Mountain were a real crapshoot live and disappointing shows were not uncommon even if it was due merely to sound issues as you experienced cos Felix went with brute force no matter what.That's the one he played when I saw Mountain in a 1000 seat converted old movie-house in Detroit called The Eastown Theater in the early 70's.
I was kinda disappointed because his signature tone was one of the most in-distinct live bass tones of any of my 'heroes' of that time.
Years later I've come to realize that that particular tone records ok, but sucked live. Even with his wall of (formerly Hendrix owned Sunn amps and cabs).
One of those tones you feel more than hear.
re Hendrix, I think the heads were generally the only thing they used from him and Leslie (the Master of the thin pick) used a SUNN Colosseum PA head early on which gave him his best lead tone ever, he said chords got mushy so he moved on from those. tho it's imperceptible, here's a shot of Jimi playing one of Felix's EB-1s in 1970 during the lone time the two jammed together.
I could be wrong, but I seem to recall seeing a pic from the back that showed 'Jimi Hendrix' stenciled on the back of several 2x15 cabs at a live Mountain show, but I didn't capture and retain that pic.
cool! I'd be happy to be wrong on this but I don't recall any mention or pics. that would be a real coup to have the whole show, I guess anything can happen when you're Felix Pappalardi lol Jimi preferred his Marshalls but the SUNNs were perfect for Felix, and the crowd when dialed in for the room's acoustics or by dumb luck. this video is one of my fave examples of a really good nite and super recording from The Fillmore East in '70 ...except for Silver Paper, I hate that song. I clip it and start @ 8:40
