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9 episodes with jazzmasters
8 episodes with jazzmasters
6 episodes with jazzmasters
5 episodes with jazzmasters
5 episodes with jazzmasters
8 episodes with jazzmasters
5 episodes with jazzmasters
6 episodes with jazzmasters
4 episodes with jazzmasters
In this episode of the Fret Files Podcast, Eric talks about vintage pre-war (pre 1940) Washburns and discusses the book "Washburn Prewar Instrument Styles" by Pleijsier Hubert. Then, Eric answers questions from listener emails including how to remove superglue from a finish, how to properly cut a Fender style nut, and setup tips for those finicky Jazzmasters. Also, something of a follow up from the pictured P-Bass bridge, but it still remains a mystery.
Gitarist og låtskriver Lars Lundevall om 40 år med deLillos, oppturer, nedturer, Jazzmaster, låtskriving, og superhiten «Neste sommer». Og mye mer. Av og med Einar Stray for Kontekst. Foto av Agnete Brun.
Welcome to the One Hundred & Sixtieth Edition of The Chronicles Of Podcast, These are The Chronicles of Acid Age We sit down with Northern Irish war jazz band Acid Age. Join us as we chat with Jude, Aran, and Jake about their journey into alternative music, the origins of the band, and where their unique name comes from. We dive deep into their song writing process, their latest single State Your Business, and the wild behind-the-scenes stories from its music video—where Aran gives us way more information than we bargained for! We also talk about their huge moment opening Bloodstock Festival 2024, their upcoming album Perilous Compulsion (out March 28th), and so much more. Also this week, we dive into the wild world of Elon Musk as he falls for a fake news article about Batman, discuss the upcoming Summer of 99 festival in the U.S. this July, and compare the vocal styles of Creed's Scott Stapp and Pearl Jam's Eddie Vedder. We also ask if other languages have quirky expressions like the British do with “silly billy.” The boys catch up on their weeks as Jamie shares the movies he's been watching and the painful story of how he injured his thumb while cooking steak, while Tom talks about completing Resident Evil 3 and more. This week also marks the debut of our brand-new segment Single of the Week, where we highlight a fresh track we think you need to check out. Alongside all the usual chaos, Callum's Teachings delivers another deep thought, this time pondering a specific percentage regarding car owners. Tom's Journal is packed with the funniest and weirdest internet finds from the past week. Jamie's audience participation challenge gets everyone involved as we ask, “What song instantly comes to mind when you think of 90s music?” LinkTree - Acid Age Official Website - The Chronicles of Podcast Official Sponsor - SayWeCanFly Affiliate Charity - Sophie Lancaster Foundation
Tonight's Jazz Feature is this show's usual tribute to The Season and a long standing tradition. It's known as the "Bags' Groove Session". The music is truly classic and always worth hearing. Miles Davis is the nominal leader on trumpet with Milt Jackson on vibes, Thelonious Monk on piano, Percy Heath on bass and Kenny Clarke on drums. A meeting of Jazz Masters indeed. All of this was recorded on December 24,1954 and the whole date has a Christmassy feel to it even though that certainly wasn't the intention. We'll hear the 4 master takes from this timeless date and is our Christmas Jazz Feature. Merry Christmas to all!
Chasing Tone - Guitar Podcast About Gear, Effects, Amps and Tone
Brian, Blake, and Richard are back for Episode 537 of the Chasing Tone Podcast - The Wampler Fearbox, Brian gets kicked off TikTok, and New Guitar Day Brian is having trouble rolling his Rs and there has been a slew of pedal releases from Keeley, JHS, and apparently also Wampler. But one that caught the collective eye was a reasonably unique compressor / fuzz circuit from a good friend of the show. Richard has had an IT disaster. Brian and Blake turn into British Victorian-era urchins when asked about transistors. Wampler have released a limited edition (and now sold out) version of the Gearbox - the Fearbox - and the guys chat about it. Blake has been to see some live music and Brian somehow is an expert on this. Brian has been kicked off TikTok and he is not happy about it. Richard visited Andertons an as a result he had a new guitar day and tells us about it and some of the other guitars he tested. Blake has a new pedal from Warm Audio, has confessed he is hoarding like Smaug, and foreshadows some future releases. It seems that Richard has found his ultimate 80's guitar and is suffering from some first world problems and makes an absurd prediction that angers Blake greatly. The guys then turn the conversation to selling guitars and somehow fish and trainsets are involved. Leaks everywhere, Electric Love, Gallagher World, Silver Sky SE, RG 550, Jaguars vs Jazzmasters, Trumptonshire...it's all in this week's Chasing Tone!We are on Patreon now too!Support the show (https://www.patreon.com/chasingtonepodcast)Awesome Course, Merch and DIY mods:https://www.guitarpedalcourse.com/https://www.wamplerdiy.com/Find us at:https://www.wamplerpedals.com/https://www.instagram.com/WamplerPedals/https://www.facebook.com/groups/wamplerfanpage/Youtube:https://www.youtube.com/channel/UCdVrg4Wl3vjIxonABn6RfWwContact us at: podcast@wamplerpedals.comSupport the show
Scandal is a Japanese band that holds the Guinness World Record for longest-active all-female band that still has all its original members. So it's no wonder that they've all got signature guitars, including this 2014 Mami Sasazaki Jazzmaster, affectionately known as the “Stratomaster” - Enjoy! Like the show? Follow us at these fine establishments: Patreon || https://www.patreon.com/thehighgain Instagram || @thehighgain Web || https://www.thehighgain.com
It's been a busy year for Jack White. The enigmatic artist and Third Man Records boss rolled out his sixth solo album, No Name, this summer, first as secret, unmarked vinyls distributed to Third Man customers, then with a full-blown digital release on August 2. He celebrated the record with a tour of last-minute-notice, small-room gigs around the U.S., proving that mystery and randomness can still exist in the world of algorithms and overblown marketing. That's not all. In September, Fender and White launched a line of signature products that were years in the making, including the eye-popping Pano Verb amplifier and feature-packed Triplecaster. PG's John Bohlinger scored an invite to White's Nashville headquarters to do a full walk-through of White's current touring rig, courtesy of tech and collaborator Dan Mancini. Here's a sneak peek at some key pieces of White's arsenal, but you'll have to watch the full rundown to catch Jack's custom Jazzmaster with some Mancini-executed “redneck engineering,” his new Triplesonic Acoustasonic model, and a cameo from the Third Man himself—right after Bohlinger accidentally breaks one of his guitars.Full Rig Info: https://www.premierguitar.com/videos/rig-rundown/jack-whiteSubscribe to PG's Channel: http://bit.ly/SubscribePGYouTubeShop Jack White's Gear:Jack White Triplesonic Acoustasonic Telecaster - https://sweetwater.sjv.io/yqggv3Jack White Triplecaster Telecaster - https://sweetwater.sjv.io/Jz9MbRFender Jack White Pano Verb - https://sweetwater.sjv.io/g1mxPrCustom Fender Jazzmaster - https://sweetwater.sjv.io/K0KKGNBoss TU-3w - https://sweetwater.sjv.io/750ngORadial Big Shot ABY - https://sweetwater.sjv.io/EKxXzDDunlop 535Q Cry Baby - https://sweetwater.sjv.io/k0MGAvDigitech Whammy - https://sweetwater.sjv.io/q4LBROISP Technologies Deci-Mate - https://sweetwater.sjv.io/LKaa1MThird Man Records x Gamechanger Audio Plasma Coil - https://sweetwater.sjv.io/Dy00m2Full Rig Info: https://www.premierguitar.com/videos/rig-rundown/jack-whiteSubscribe to PG's Channel: http://bit.ly/SubscribePGYouTubeWin Guitar Gear: https://bit.ly/GiveawaysPG Don't Miss a Rundown: http://bit.ly/RIgRundownENLMerch & Magazines: https://shop.premierguitar.comPG's Facebook:
Best known as the lead guitarist in Wilco, Nels Cline has an exceedingly wide range. The intrepid Jazzmaster-master has tackled everything from the deepest out-jazz and extreme noise to sensitive balladry and all brands of rock. Fittingly, any one person's list of favorite Nels Cline records are like fingerprints: no two are the same. You'll be leaving this one with homework!Episode sponsored by JAM Pedals: https://www.jampedals.comFollow Nick: https://www.instagram.com/nickmillevoiFollow Jason: https://www.instagram.com/jasonshadrickGet at us: 100guitarists@premierguitar.comCall/Text: 319-423-9734Podcast powered by Sweetwater. Get your podcast set up here! - https://sweetwater.sjv.io/75rE0dSubscribe to the podcast:Spotify: https://open.spotify.com/show/0aXdYIDOmS8KtZaZGNazVb?si=c63d98737a6146afApple: https://podcasts.apple.com/us/podcast/100-guitarists/id1746527331
Episode 547 is is brought to you by... Chase Bliss Stringjoy Use code: HUM to save 10% Truefire Reverb x Fender Certified Pre-Owned Support this channel on Patreon Want to send us mail? 60 Cycle Hum #615 9450 Mira Mesa Blvd. San Diego, CA 92126 LINK HERE FOR PHOTOS 00:00 8 String Jazzmaster 14:00 Thanks Patreon! 20:14 Bootsy Collins Wah 28:15 Steve talks about his erratic behavior. Also, we got a package from Reverb! 37:13 Gibson reissued the Victory (just like we told them to) 49:19 THE BOOT 59:14 This week's music was sent by James of The Fabulous Planktones and is called "Man from Planktone" **************************** 60CH on Patreon Buy Something with our affiliate links: Buy a Shirt Sweetwater zZounds Thomann Amazon Perfect Circuit Ebay Reverb Tour Gear Designs Patch Cables +++++++++++++++++++++ Social Media Stuff: Facebook Discord Instagram and Twitter @60cyclehum TikTok Hire us for Demos and other marketing opportunities #60cyclehum #guitar #guitars #shameflute
Join jazz aficionados, Arts Council CEO Jonathan Grimes and Mike Esneault, our director of arts education as well as an award-winning composer and jazz pianist, for an insider's glimpse and listen into the upcoming River City Jazz Masters Series! You don't want to miss this one!
For the first of our special LISTMAS LOCK episodes, hosts Reggie Worth and Jason Jefferies are joined by Jason Lytle, frontman of Grandaddy, who discusses his latest album Blu Wav, which is on Dangerbird Records. Topics of discussion include skateboarding, the intersection of nature and technology, the influence of place on art, office environments, Jazzmasters, the lesser explored parts of Yosemite, making positives out of negatives, Pintos on the moon and much more. Blu Wav can be purchased from your friendly local record store or ordered here. Happy listening!
Full Rig Info: https://www.premierguitar.com/videos/rig-rundown/loatheSubscribe to PG's Channel: http://bit.ly/SubscribePGYouTubeLoathe is a challenging listen. In 10 years, they've released three dissimilar albums, a pair of pulverizing EPs, and a couple reinventive, collaborative covers (with Sleep Token and Teenage Wrist) of their own material, proving they thrive on juxtaposition and keeping your ears off guard. The Liverpool foursome morph from blissful dream state to Nightmare on Elm Street and everything in between. Their sound can be familiar like an old friend but thrilling like a first date. From the ashes of Our Imbalance's pure metalcore madness—featuring guitarist/vocalist Erik Bickerstaffe, vocalist Kadeem France, and drummer Sean Radcliffe before recruiting guitarist Connor Sweeney and bassist Shayne Smith—rose the reformation that became the experimental Loathe in 2014. (Current bassist Feisal El-Khazragi replaced Smith in 2018 and Sweeney left the band in 2021.) Nu-metal bounce, djent precision, shoegaze shimmer, post-hardcore chaos, synth segues, barbwire breakdowns, moody melodies, and singalong choruses aren't groundbreaking elements. But how they make them gel and grate against each other is what makes Loathe special. In a matter of minutes, they can make you scream, cry, and then dance before inciting you to do all three at once. The difference is in the disparate.Their creative applications of the past, present, and future keep them ahead of the audience providing a deep musical menu. If you don't like the first Loathe song you hear, there's a chance the next one will be your favorite. “The four of us have very differing influences, but when we work together, we create something very unique,” contends Bickerstaffe.Even Bickerstaffe's guitar choices are at odds. He wants the heaviest sound possible but avoids using 7- or 8-string guitars because of their brash tones and jagged aesthetics. He prefers to swing the sledgehammer in a classic costume of a Gretsch Jet (and formerly a Jazzmaster).“We wanted a British-rock sound that pushes further into modern extreme-metal influence when we were writing. I don't like anything too metallic or sharp sounding. For the band we are and what we're trying to do musically, it's not the right thing,” states Bickerstaffe.It's been over four years since their heralded I Let It In and It Took Everything, and the fans are growing impatient. The band is aware of the wait and are concerned with impressing themselves rather than capitalizing on the attention. “There's music in the world the four of us as individuals miss hearing, and we want to be the people that create that in our own style. Hopefully, people who agree with us are along for the ride, and if not, that's absolutely cool. We've been through a lot, and we're working really hard together to make sure the music that we put out is exactly what we want to put out. We'll let it speak for itself when we release it,” explains Bickerstaffe.Before Loathe's opening slot supporting Knocked Loose on May 1 at Nashville's Marathon Music Works, Bickerstaffe carved out some time to talk with PG's Chris Kies. Bickerstaffe details the obtainable instruments that help him deliver both deathly and dreamy moments, why he shies away from the metallic edges of metal, and what fans should expect from the ever-evolving outfit's new music. Full Rig Info: https://www.premierguitar.com/videos/rig-rundown/loatheSubscribe to PG's Channel: http://bit.ly/SubscribePGYouTubeWin Guitar Gear: https://bit.ly/GiveawaysPG Don't Miss a Rundown: http://bit.ly/RIgRundownENLMerch & Magazines: https://shop.premierguitar.comPG's Facebook: https://facebook.com/premierguitarPG's Instagram:...
Spencer of Full of Hell dives into detail on their collaborative process, gear, and all things "Coagulated Bliss". If you are a casual gear dork, a full on metal-head, a Jazzmaster snob, or just a fan of the creative process, then this conversation is for you. Full of Hell's newest album "Coagulated Bliss" is out now and available wherever you listen to music. They are currently on the road with Dying Fetus, besure to keep up with all things shows, and music at their website: fullofhell.com If you are not able to snag the vinyl on tour, be sure to support the band via their bandcamp page On that note!! Spencer's project Sore Dream has a new track out that is simply perfect. You can hear that over at this bandcamp page. If you want early access to these episodes (+ the extended version of this episode), head over to the Rigs of Dad Patreon Page where you can also hear more unedited, ad-free interviews with previous guests, patreon exclusives, and beyond! PLUS early access to other episodes. Rad things: If you are in a band and are looking to cut shortcuts in developing a website, no company can help you more than SUPERTAPE.com. It is the easiest way to streamline your entire online presence from merch sales to video, press, and beyond... ALL done with only a few clicks. Big shout out to the homies at www.shearrevival.com Take care of yourself. Look good, smell good, and feel good. Treat your body and neighbor's nose with love using Shear Revival! Use the code CLEANTONE10 to get 10% off your next order! Huge loves to the incredible Sacha Dunable from Dunable Guitars. The guys is building the absolute BEST axes in the game and I am a firm believer that EVERYONE needs to own one. Check out www.dunableguitars.com if you need some real tone in your life. Much love to the fine folks at Custom District Pedalboards for allowing me to pack the heaviest tones on the lightest boards. Get yours over at www.customdistrictpedalboards.com Do you have a ton of guitars? Does the show not go on unless you have at least three guitars with you? Then you need to check out Quantum Industries. These dudes are putting out true tanks of guitar cases. Check out https://www.quantumindustries.jp/ BE SURE to enter ROD10 for a discount on your order!!!
Full Rig Info: https://www.premierguitar.com/videos/rig-rundown/black-pumasSubscribe to PG's Channel: http://bit.ly/SubscribePGYouTubeIn just seven years since meeting based on a recommendation, Eric Burton and Adrian Quesada formed the Black Pumas, released two albums, and have already been nominated for seven Grammys. However, this fruitful friendship was almost never developed.Quesada was enrolled at the University of Texas but flunking out due to his dedication to guitar over textbooks. His parents gave him a proposition: Either stay home in Laredo, or return to Austin without a guitar in hand to focus on studying. He went with option B and headed back for school in Austin—or so his parents thought. Quesada took his remaining book money (about $200) and headed to Ray Hennig's Heart of Texas, where he snagged a Squier Telecaster Thinline. His parents eventually figured out the switcheroo, but Quesada was determined and hasn't looked back. (Side note: The family obviously sees and supports his musical talents, and attended Black Pumas' Ryman show the night before the filming of this Rig Rundown.) That matador move pulled off by Quesada allowed him to become a longtime fixture in the Austin music scene with bands Brownout, Ocote Soul Sound, Spanish Gold, Echocentrics, and Grupo Fantasma (with whom he played for over 15 years, earning a 2011 Grammy for Best Latin Rock or Alternative Album). He started to explore new ideas that didn't fit the mold for Grupo, and needed someone to narrate his musical vistas. A friend recommended he link up with Austin newcomer Eric Burton, who traded his busking spot on the Santa Monica pier for the bright lights of Sixth Street. The duo met up, and as the results prove, the rest is history. Before the Black Pumas' second headlining show at the Ryman Auditorium in downtown Nashville, bandleader Adrian Quesada, bassist Brendan Bond, and band tech Bryan Wilkinson invited PG's Chris Kies into the hallowed grounds for a chill conversation about their tonal tools. During our time with the Black Pumas, we learned about Quesada's love for tremolo (he even included it as a secret weapon in a semi-hollow Jazzmaster), Bond's fateful trip to the Wilco Loft in Chicago, and why a '59 ES-125 is Wilkinson's perfect pairing with Burton's expressive and emotive voice.Full Rig Info: https://www.premierguitar.com/videos/rig-rundown/black-pumasSubscribe to PG's Channel: http://bit.ly/SubscribePGYouTubeWin Guitar Gear: https://bit.ly/GiveawaysPG Don't Miss a Rundown: http://bit.ly/RIgRundownENLMerch & Magazines: https://shop.premierguitar.comPG's Facebook: https://facebook.com/premierguitarPG's Instagram: https://www.instagram.com/premierguitar/PG's Twitter: https://twitter.com/premierguitarPG's Threads: https://threads.net/@premierguitarPG's TikTok: https://www.tiktok.com/@premierguitar[Brought to you by D'Addario: https://ddar.io/wykyk-rr & https://ddari.io/xpnd.rr]© Copyright Gearhead Communications LLC, 20240:00 - D'Addario XPND Pedalboard0:15 - Chris Kies Intro1:57 - Adrian Quesada Intro3:15 - Touring with Vintage Gear4:02 - Adrian Quesada's Fender Custom Shop Telecaster6:13 - Playing with Fingers or Pick8:03 - College or Guitar?9:14 - Adrian Quesada's Strings10:00 - Adrian Quesada's Gibson ES-34511:53 - Playing ES-345 with DI Fuzz13:11 - Adrian Quesada's Fender Custom Shop Jazzmaster Thinline14:27 - Built-in Tremolo17:33 - Adrian Quesada's Fender Limited Edition '68 Custom Deluxe Reverb18:36 - Adrian Quesada's Pedalboard30:05 - D'Addario XPND & John Bohlinger30:55 - Brendan Bond Intro31:49 - Brendan Bond's 1974 Fender P Bass36:15 - Brendan Bond Fingerstyle & Bass...
In this episode of the Fret Files Podcast, Eric and Nat take questions regarding pickup phase, guitar finishes with no pore filler, getting rid of pick marks on lacquer finishes, the Sorkin "bowtie" bridge, and Eric's ideal Jazzmaster wiring.
Original Air Date: 12/17/2023 - Erin Douget shares the details on ACGBR's 2024 MPAC Gala while Jonathan Grimes gives us the scoop on the upcoming River City Jazz Masters concert with jazz percussionist Bobby Sanabria.
Matt takes Fender's Player series Jazzmaster for a spin on stage and in the studio for this Guitar Speak Podcast review. Thanks to Fender Australia, we are giving away this very guitar. Full details can be found at www.guitarspeakpodcast.com This episode is brought to you by Fretboard Biology Fretboard Biology - the online guitar college created by Joe Elliott, ex Head of Guitar at GIT and McNally Smith Music College. www.fretboardbiology.com Guitar Speak Podcast #146 - Joe Elliott - ex guitar head of GIT - launches Fretboard Biology Guitar Speak Podcast Links PayPal Tip Jar Visit us at guitarspeakpodcast.com Subscribe and find previous episodes at: Apple Podcasts Spotify Stitcher ...and wherever you find podcasts!
In this episode Phillip sits down with luthier Creston Lea and talks about how he got into guitar building, our love of weird Peavey stuff, and drawing on popular models for inspiration to create new and unique guitars that feel classic. Find Creston and Creston Guitars on:Internet: https://crestonguitars.com/Instagram: https://www.instagram.com/crestonguitars/Facebook: https://www.facebook.com/groups/61598245820/I've partnered with TourGear Designs to get you 10% off the best patch cables in the game! You can use my affiliate link (https://www.tourgeardesigns.com/discount/40WATT) or just use the code 40WATT at checkout to get 10% off your order! If you want to save even more, Patreon supporters of the show get 20% OFF! Check out my post over on my patreon page for more information!Get 20% off Rattlesnake Cables using this link: 20% off their order using this link: https://www.rattlesnakecables.com/40watt/Support the show at: https://www.patreon.com/40wattpodcast/Find guitar lessons on TrueFire (remember to use code 40WATT): https://bit.ly/3t0v1ZdFind all of the podcast links at:https://www.linktr.ee/40wattpodcasthttps://www.40wattpodcast.com/40 Watt Merchandise: https://40-watt-merch.creator-spring.com/Reverb Affiliate link: https://reverb.grsm.io/phillipcarter5480StringJoy Affiliate link: https://stringjoy.com/partner/fortywatt/Subscribe to the channel and give a like – also find us in audio format wherever you listen to podcasts and leave us a review and share us with your friends.Support the show
Barrie Cadogan (also known as "Little Barrie") is one of the world's first call electric guitarists when it comes to classic soul, rock, punk, and rhythm & blues. He has worked with some of the biggest indie artists performing today including Morrissey, Paul Weller, Edwyn Collins, Liam Gallagher, and Primal Scream. That's a hell of a CV by anyone's standards, but Barrie is perhaps best known for the theme music from the Netflix show 'Better Call Saul.' That glorious guitar intro? That was him! Quite simply, he is very cool. He inhabits a world of pristine big E vintage Levis, Cuban heels, and 1960s Jazzmasters; bespoke hatmakers name their latest designs after him; and, if you are planning a global stadium tour and you need a guitarist that will bring the goods, then you had better make sure that you have Little Barrie on speed dial. I caught up with him at the private, by-appointment-only premises of Guncotton Guitars in London. (More from them later as they have generously sponsored this episode!) We talked about our shared love of seminal Manchester band The Stone Roses and watching 'Sounds of The Sixties' on British TV which for many musicians of our generation had a similar impact as that of the Ed Sullivan show in the USA. Barrie shares his experiences as a young musician moving to London some 20 years ago, his realization that a Marshall half stack may not be the ideal bedroom practice amp, the dangers of applying a Jackson Pollock-style paint job to a guitar, and Bobby Gillespie's eccentric hiding place for demo CDs. He also shares his love of Japanese architecture and his recent reunion with a guitar that got away from him years previously. I think we can all relate to that. This interview was recorded on a hot summer's day in London. As I sank into the vintage Charles Eames furniture and pressed record, I remember feeling very happy to be there. I hope it shows...and I'm glad to be able to share this with you. Barrie Cadogan https://www.littlebarrie.com https://www.youtube.com/channel/UCVn9XB03wI5dM4d0Vbl-i2A https://open.spotify.com/artist/5ozUXaDjc4mfVyDIWCJH4E?autoplay=true https://www.instagram.com/littlebarrie/ This episode is brought to you by the kind sponsorship of Guncotton Guitars in London https://www.guncottonguitars.com https://www.instagram.com/guncottonguitars/ and Microtech Gefell Microphones https://www.microtechgefell.de Your Host Michael Watts https://www.michaelwattsguitar.com https://www.youtube.com/user/michaelwattsguitar https://www.instagram.com/michael.watts.guitar/ To support this podcast please use this Tip Jar link https://michaelwattsguitar.com/tip-jars/4745
For this episode, we head out to Nashville, TN, where Smash Mouth founding guitarist GREG CAMP plugs in and shows you how he gets his magical, multi-platinum-selling "surfadelic" Jazzmaster sounds. He also details the art of writing hit songs (he wrote Smash Mouth's biggest hits, including "All-Star" and "Walkin' on the Sun"); introduces you to his new band, the Defiant; and celebrates the life and music of late, great Smash Mounth singer Steve Harwell. Hosted by Jude Gold. This episode is brought to you by Guitar Player magazine.
Fender has two factories in North America - one in California, and one in Mexico. They share a lot of resources, both material and human. Is this why, more than ever before, it's getting harder to choose between the two? We're taking the new Vintera II series Jazzmaster for a ride. Enjoy! Like the show? Follow us at these fine establishments: Patreon || https://www.patreon.com/thehighgain Instagram || @thehighgain Web || https://www.thehighgain.com
Learn more at TheCityLife.org --- Send in a voice message: https://podcasters.spotify.com/pod/show/citylifeorg/message Support this podcast: https://podcasters.spotify.com/pod/show/citylifeorg/support
Buy Old Blood pedals: http://www.oldbloodnoise.comCheck out Emily's stuff: https://getoffsetpodcast.com/Hear Andy's new music: https://lowercasenoises.bandcamp.com/album/an-encounter-with-broken-timeJoin the conversation in Discord: https://discord.com/invite/PhpA5MbN5uFollow us on the socials: @oldbloodnoise, @andyothling, @danfromdsf
The Hamilton Watch Company was founded in Lancaster, PA, USA in 1892 and started making watches for local railways and operators. As we moved closer to World War II, Hamilton got involved with the US Military and began providing watches to troops, so much so that they even ceased production of civilian models. They continued to innovate, releasing the world's first electronic watch, the Ventura in 1957. Today, we associate Hamilton watches with a few things: Movies in which they are placed, sometimes becoming a plot point, and field watches, which they execute nearly to perfection. From Hawaii Blue to Men In Black, and most recently Interstellar and Oppenheimer, Hamilton watches continue playing a crucial role in outfitting characters across many genres. In this episode we cover all this and more, including a vintage mechanical Hamilton 1936, the predecessor to the Boulton/Indiana Jones watch. We also cover several movies like Men In Black, Interstellar, and The Martian, where Hamilton watches are featured. Be sure to subscribe to the show to get notifications when new episodes are released (Spotify, Apple Podcasts, and all other directories) and follow us on Social Media @strapandlink! Show Notes: 6:40 - History of Hamilton Watches 29:40 - "Lawrence" 1936 / Hamilton Boulton 38:44 - Khaki Field "Murph" 49:07 - Jazzmaster Collection 56:15 - Intra-Matic Chronograph Collection 1:07:10 - Mailbag
This week we have Jeff Schroeder of The Smashing Pumpkins joining us in the hall of discussion. We caught up with Jeff on a day off while in New Mexico on a headlining tour. It was great getting to have such a down to earth chat with someone playing in one of the biggest rock bands of not only our generation, but arguably in the history of modern rock. As always, we really enjoy getting to chat with someone as humble and real as Jeff. In this conversation we get into the Korean-American experience, reluctantly attending Korean Church for the food, our love for Jazzmasters, current stage setups, Jeff's beginnings in music, home life, pre and post show meals and lots more! Thanks for listening, as always. Learn more about your ad choices. Visit megaphone.fm/adchoices
Chasing Tone - Guitar Podcast About Gear, Effects, Amps and Tone
Brian, Blake, and Richard are back for an all-new episode of the Chasing Tone Podcast!Blake has an anecdote about the Dave Matthews band which he shares with the guys while Richard talks about Threads and an advert that uses the same piece of stock music as this show does. Brian recalls the time he met Hartley Peavey, Blake worries about the provenance of his hat, and Richard talks about the new Jake. E. Lee signature amp from Dave Friedman which he very much loves. How do you set the whammy bar up on your 'Strat? Richard asks the question because he saw a great tip on the interwebs and wants to share it with the listeners, but has to struggle agains certain negative attitudes towards said instrument. Meanwhile, Brian rants in silence while the guys hurl insults at him. The guys then look at the myth of the backplate and whether it is acoustically or electrically significant and Richard is getting into DIY pedals. Brian give his some helpful tips on soldering and breadboarding and general DIY advice. Let's see how much Richard listens to him... Would you rather have a really rubbish amp or a really rubbish guitar? The guys chat about this and about how important the right cab can be while Brian struggles to think of a name for a Wah pedal. Again. Brian also confesses he has a collection of domains and this baffles Richard, who has fallen in love with a new Jazzmaster guitar and is also thinking about the Tone-X pedal. Origin has released a new Klon clone and Brian tells us a bit about the history of the Tumnus Deluxe before he and Richard drop some huge hints about a new release. Peavey on the Teevee, Mon Chat, Ear protection, Steve Lukather, Megadeth disappointment, Steve Martin, Mustard crimes...it's all in this week's Chasing Tone!We are on Patreon now too!Support the show (https://www.patreon.com/chasingtonepodcast)Awesome Merch and DIY mods:https://modyourownpedal.com/collections/booksFind us at:https://www.wamplerpedals.com/https://www.instagram.com/WamplerPedals/https://www.facebook.com/groups/wamplerfanpage/Youtube:https://www.youtube.com/channel/UCdVrg4Wl3vjIxonABn6RfWwContact us at: podcast@wamplerpedals.com-Support the show
jD, Pete, and Tim welcome Paul Langlois to the show to talk about his new record Guess What.TracksWill to FightDesperation Calling638 MainGuess WhatTranscriptTrack 1:[0:03] Well, I would see him working away in Timothee's from time to time, like I would walk past Timothee's and there would be Gord Downie sitting there on a laptop and, you know,my reaction as a super fan is like, I got to go in and say hi. And then, and then as the same super fan, I'm like, what if he's writing? Well, what if he's writing the next fucking great song? And I'm the asshole who interrupts that, right? Track 6:[0:28] Well, he would have been writing something, but he kind of put the songs together after. Track 1:[0:35] Oh, gotcha. Okay. Okay, gotcha. Track 6:[0:38] So, how is my signal? Because I can hotspot. It could be better. Track 1:[0:41] No, this is good. You're coming through great. Track 4:[0:43] It's great. Track 5:[0:44] Okay. Track 1:[0:44] It looks like a nice day. Are you outside? Track 6:[0:47] I'm outside. Track 1:[0:49] That's great. Track 6:[0:49] These are my little sister's paintings. Yeah, I sort of had a thing built where I can live outside and just be Oh, man Shelter shelter up there, you know, yeah So I spend a lot of time outhere. So I'm in downtown Kingston ish like about five blocks from the center of downtown and Cool. Yeah, so I like it here. We've been here like five years ever since the kids left Nice, nice. Track 5:[1:23] Just the two you have? Sorry. Track 6:[1:26] Two girls, yeah. And they're both kind of making their way in Toronto, 27 and 23, and in their separate career paths. Track 5:[1:34] Okay. Track 6:[1:36] So they're kind of, you know. Fairly entry-level and where they're working, but Sure. All right, and we just thought we Give them a break and they pay us far less rent than they would have to pay. Track 5:[1:49] Yeah. Track 6:[1:49] No, that's good I said and we've actually used the place because I have to be in Toronto More than I ever thought I thought I was retired and now I have to be in Toronto all the timeand So we stay there every time Cool. Ah. Toronto hotels these days, you're saving 600 bucks every time. Track 1:[2:07] Toronto hotels are insane right now. They're totally insane. So the premise of this podcast was, I found these two friends of mine that are from different parts of the world, but they both grew up in Southern California, and they had not heard ofThe Hip. So this is getting hip to The Hip, where we're taking them from not having heard them, and We go through the discography and sort of get their reactions as to what they're hearing. Because you know, you guys are a cultural phenomenon and it's strange sometimes when you meet people who aren't aware of this thing that is like 11 million people watched the lastconcert. You know, that's staggering when people don't know. Track 6:[2:51] I've got to say, great concept for a podcast. I did notice the title and I didn't really catch, like I didn't really know what it meant. Yeah, I love it. I love it. Track 5:[3:03] We're of the we're of the same generation pretty much here And you know Pete and I grew up with Southern, California radio you know, that's what got us into music and You know80s 90s. Track 4:[3:15] Yeah the radio. Track 5:[3:16] Yeah, I was making mixtapes off the radio and Middle school and yeah, you know, we didn't we didn't have the the hit playing on 91x in San Diego No, not a lot of radio play inCalifornia. Track 6:[3:28] There's a San Francisco station, uh, K-Fog? I forget the name of it. That's not K-Fog. There was a San Francisco station that played us, which is why we were able to, you know, eventually play the film or, you know, a couple,couple of days in a row kind of thing and sell that out. But that, I think it's K-Fog, something like that. Track 1:[3:50] It sounds very San Francisco. Yeah. There you go, actually. Track 6:[3:55] Our radio play was random. Dallas, we got played in the early days, and Chicago, we got played. So all the non-border towns, like, you know, Buffalo, they have Canadian radio. So we're always, we ended up in arenas there. Seattle, not as much, but then it was just random. You know, we'd get play in some American cities and no play whatsoever in others. So it takes so much longer by word of mouth than it does if you've got a song on the radio. Track 4:[4:29] Sure, you know, so so so Paul, this is something that I are you guys recording, by the way? Track 1:[4:35] Sorry, recording? Yeah, it's right. Track 6:[4:37] Yeah, I just wanted to make sure you're not losing all the all the goal. Track 5:[4:42] Okay, so we pretty much hit go and do no, no. Track 4:[4:45] Um, because we're talking about this too. And this has come up a number of times on the podcast, right? And obviously, you just were talking about some radio stations, you got random and play in certain cities, this and that. And Tim and I grew up at a time prior to streaming. We saw that switch. So essentially, whatever we were listening to, unless you were in some like super niche underground group with the cool kids and shit, you were listening to what wasbeing played on the three main stations, right? And we saw all the takeover with Clear Channel. We saw all that shit happen. Yeah, us too. The thing that I noticed, and I'm not trying to blow smoke up your ass here, Paul, but I'm going to maybe do a little bit, so clench if you got to. [5:39] I thought about a lot over the nine months we've been recording this podcast, is that good music is good music, and there's probably so much shit that falls through the cracks. Here you got Tim and I, who never heard of the hit before. We both have a lot of similar bands in common that we like, but J.D. Put us on this mainline IV drip of the Tragically Hip since we started this, and at first it was a slow burn, but But now it's like, I cannot imagine my life without your guys' band. And again, I'm sorry to blow smoke at you. No, that's not. I'm not trying to do that. No, I love it. I love it. But it's just like, good music is good music. And I had a deep dive into Guess What too, and we'll talk about that, I'm sure. Yeah, just it's if you're not exposed to it, man, then you're not exposed to it. Track 6:[6:43] You know, I really appreciate that like it's it's like and And the slow burn part as well. Like I think It was a slow burn for many people just because I Don't think it was that obvious like, you know, the early days were kind of like Oh, it's kind of like more a barroom bumpkind of you know know, um, really kind of not boring, but, you know, simple. [7:15] And so, but I know that when we were writing and recording, When we were writing and recording, we meant to do that. For these songs, the songs that we chose for each record, we believe that they would stand the test of time, that you'd probably have to listen to it four, five, six times before you start to,before it starts to grow on you, as you said, slow burn. And I think that's better. I mean, there are certainly songs I love that immediately it's kind of like, wow, okay, that's a hit. But a lot of times there's, even back then, you know, in the 80s and 90s, sometimes it's kind of spoon-fed stuff. I mean, it smells like Team Spirit right away. I loved it. That's not spoon-fed. We're just doing this thing. They're doing their thing. But there's many more examples of where it's more spoon-fed, where it lasts about nine or 10 listens, and then it's like, okay, I've had enough of this. Track 4:[8:18] Moving on, when I do when I when I press play on in violet light, I remember and I told JD and Tim this I was like, dude, I'm not I this is not gonna work. This is gonna be a shittytwo weeks. We're listening. And then like it ends up like, I just it just starts. It's like a cicada man. It just burrowed its way into my head. And then, like, at some point a week and a half into it, I'm rolling down the highway here in Spain, just like fucking windows down just like what? Where have you been all my life? Track 6:[8:50] That starts with Use It Up, right? Oh yeah, Use It Up. Track 1:[8:54] Oh yeah, yeah. Track 4:[8:56] Oh dude, Use It Up. Oh fuck. Track 1:[8:57] That was the song he picked. Yeah. Because every album I make them pick a song and Use It Up was for that record. Track 6:[9:05] It's so funny because I didn't like that song at first. I was like... You didn't? Yeah. Now what? We're reaching here, it's no good. And then it grew on me as we were sort of all learning our parts and playing it together. It was like, oh, I get it now. Use it up. Yeah, this is the best thingfor later. But at first, I was just like, this is going to be a horrible record. Track 4:[9:31] Oh, dear. Track 5:[9:32] Well, I even said to my kid, I have a 21-year-old, I have 21 and 18-year-old sons, and my 21-year-old plays drums and an amazing drummer and he's getting into other stuff too. But I played him some of the, you know, I don't remember which album, but he looked at me and he's like, are you sure you can do this? What is this band? And the guy, does he sing weird? What are you doing? And I'm like, I hope so, bro. Let's see what happens. But no, since then, I've played in bits here and there. And my whole family, of course, has been subject to the hip. Yeah, same here. And they're now recognizing the hip when they come on. I haven't forced them to sit down and hear an album, but that'll happen eventually, I'm sure. But yeah, the slow burn has been awesome. And for you guys to accomplish that, I mean, you were in high school, right? When you... Shortly after high school? Track 6:[10:34] Just after, yep. So there's a university here, Queen's, so three of the guys were at Queen's. Johnny was still in high school, drummer. Okay, that's right. He was in grade 13, which they don't have grade 13 anymore, but... Yeah, so it was kind of Yeah, a long long time Yeah, I mean for that to happen. Track 5:[10:55] It's like you know I have a My brother-in-law told me at one point like what are you gonna? Do bro? You know you're 19 You're not doing anything is like I'm gonna be a pro skateboarder And I'm like dude you got a one and what 40 million shot to be a pro skater Yeah, come on.I mean, but you guys you guys were young and you kept at it, and you didn't go after careers I don't think I mean, I'm sure some of you held like part-time jobs or something But you guysjust kept going at it. Track 6:[11:24] We all had parents that were kind of like very supportive but at the same time everyone was in University and You know, what's the backup plan my dad said all the time and I'mlike no backup plan dad These guys because I joined a bit later like a year and a half in they were covered in And I love them and Gord Downer is my best friend and he asked me to joinbasically because I was Leaving. I mean I didn't think of it as a threat, but he thought it was a threat that I was just gonna go down Try my luck as a songwriter and He was like he didn't like that at all. And so that's the other And when I joined, my dad was like, yeah, but, um, you're going to go back to school and you'll have a backup plan. I'm like, I don't need one. Track 1:[12:20] And so I'm just going to ask you what's the moment, what the moment was where you knew you didn't need a backup plan. You knew that early on, like that it was like you guyshad lightning in a bottle. Track 6:[12:31] I knew when I joined, I went to all their gigs and, um, but whenever I could, like I I was driving cab, but Gord would always have me on the list. And they were just like small in-town gigs, either at the university or at a biker bar or whatever, a few bars that they were playing. And... I knew, like, and it wasn't just Gork. I knew that Robbie and Johnny and Sinclair, like, that they were just doing something different. Now, mostly they were playing covers, but they had songs that never made it even to our first baby record. Great songs, Heart Attack Love and Baby Blue Blood and, you know, all these songs were Reformed Baptist Blues, which was on Thaskadelphia, but surprising. [13:21] But it was just like, God, they know how to write songs. Gord is unbelievable. Nothing like the friend I had. Like as soon as he got up on stage, it was just kind of like, wow. And so I just felt like, you know, they have it. And word of mouth already just in Kingston. You know, they say you can't, if you're in a band and you can't draw a crowd in your hometown, then chances aren't great. [13:53] But if you can, you can take that. And so we just would just gradually take it to the next town over, Belleville or, you know, Brockville, then Cornwall and, you know, Oshawa, justsort of like just took it up and down the 401, which is a highway around here. And just, we relied on word of mouth. And then we started booking things that way. Let's do three nights. So we'll play Thursday, Friday, Saturday, and by Saturday we'll have it full because everyone's gonna be going home saying, okay, the singer's crazy and the band isheavy and tight. And so we built it up that way. I'm not sure if you could do it these days. I mean, there's still venues. So I think you actually could still do it our way. It was the only way we knew how to do it, but we always felt like, we were always like. We all had a couple of hundred bucks in general, you know, so it wasn't like, um, we were, we weren't, uh, not making money, you know, we were able to, and our parents weresupportive, you know, Gord's parents got us a van and et cetera. It just kind of, um, we knew very early on that we could just keep doing it. Let's just keep doing it until it goes south. And it never did. Track 1:[15:10] I guess not. Track 4:[15:11] Holy shit. Track 1:[15:11] Amazing. Track 4:[15:13] It's an understatement. Track 1:[15:14] Yeah. Track 4:[15:17] So I want to, I don't know if it's cool fellas, but I want to dig into the to guess what a little bit. Track 1:[15:23] Yeah, let's do it. Yeah, yeah, yeah. Track 4:[15:27] So first off, you guys recorded the bathhouse. Yeah, we talked to we talked to Gord. What was it like three months ago? We talked to Gord. Track 1:[15:35] Oh, yeah. Yeah. Track 5:[15:37] Let's go. Yeah. Track 1:[15:39] When his record dropped, he came on. Track 6:[15:41] Pardon me? Track 1:[15:41] When his record dropped, he came on. Track 6:[15:44] I really love that record. I've told him many times. He's so funny. You know, he's just like... He's such a sweet dude. Yeah, he is. And he's, you know, we complain mutually about having to be the singer and, you know, and just all the complications. But I love his record. I've told him all the time. It's just like, it's classic him. just such variety. But we're not talking about his record, I guess. Sorry. Track 4:[16:15] No, no. No, he kind of said some of the same stuff, but your vocals on, I love the vocals on it. And then I was kind of reading about what you did with the, in terms of choosing the band and what's his name? His name is, oh, Billy Anglin. That dude is a, he's a freak on the drums, man. Track 6:[16:45] Desperation calling oh yeah yeah when he does that yeah like what the hell is that he's a giant in real life I don't know if you knew that's crazy he's like I don't know I think he's sixfive Oh he's easily 250 must be I don't know how much away but well hey he's a giant and he was a kid that we heard about Johnny mentioned him to me. I remember back when we first started, Johnny was like, there's a kid over at Elsie, which was another high school. We were at Casey and they were at Elsie and there's a kid, Billy Anglin, and he's like five years younger than us. He's like, they had the same drum teacher and he's like, that kid's really good. And he played into his 20s and then he started a construction company and hadn't played for 20 some years. And another The other guy in the band, Joe Carscallon, is kind of like a family friend of his. And he was like, you know, Bill Anglin would do it if he asked and I'm like, seriously? And anyway, he is great. We just played a show just out of town. There's a little quaint little town, Guananacue. I'm not sure if you've been there, JD, but it's a beautiful little summer town, Thousand Islands. Track 1:[18:00] Okay. Track 6:[18:01] And we played a gig on Saturday night. And I was just like, for some reason, I was just kind of really focused on Bill and the stuff he was doing. I'm very lucky. And the same with everyone else in the band, of course. Oh yeah. He just hits them so hard and he's so big. And he has a huge drum kit too, like huge. Where it's like, oh my God. We pull into a little club a couple of weeks ago just to have a warmup show. Track 4:[18:32] And the club owner's like, You know, the drums basically took up the whole, it's like, is this a Russian, is this a Russian cover band? Is Neil Curtin? Yeah. Track 6:[18:43] Anyway, I'm going to tell Bill you mentioned him because he's amazing. Track 1:[18:49] The big toms at the beginning of Will to Fight as well. Track 6:[18:52] Right. That's what I thought. That's what I thought Pete was going to say. Track 1:[18:55] Those big toms right off the start, it's like, oh fuck, this song has a bone to pick with me. It's like, it's challenging me right now, this song, it's. Track 6:[19:09] We've been opening with that one. Oh yeah. And Bill loves it, you know, he's had a setlist. Track 5:[19:14] Cool. Track 6:[19:16] Oriented and I always put Will to fight first and he's quite happy with it, he loves starting. Like he is not short on confident. For a guy who hasn't played, he's played on his own but who hasn't played with anybody for 20 years, It's pretty amazing. Track 4:[19:31] That's crazy, man. You know, you, well, it's because we're talking about drums. This is something that's that came that came up a couple times in the podcast. I don't know what record it was that we're talking about. But I had mentioned and I said it and I said it exactly like this. I was like, Paul Langlois is a fucking drummer. Track 1:[19:52] Yes. Yeah. I remember you remember that? Track 4:[19:55] Yeah. And and I said that because I don't remember what song and what record it really hit me like a Like a freight train, man. Track 1:[20:02] It was in between evolution is what you said it. Was it? Track 4:[20:06] Was it in between evolution? Track 1:[20:07] Yeah. Track 4:[20:07] Yeah. Just your, the tone of that, bless Paul, and just the chunk, chunk, chunk that was, I can't remember the song that it was on where it hit me and I was like, dude, I don't knowwho's drumming here. Is it Paul or is it Johnny? Because I'm getting, because I've done that. I've done that thing where you listen to each member of a band individually. Like, I don't know if you've ever done that, like next time you, next time you want to have a good time listening to your, if you like Rush, I mean, I like Rush. Who doesn't? Track 6:[20:40] I love Rush. I love Rush. Track 4:[20:42] Take it, take a Rush tune or watch maybe a live, live recording and focus on one. Watch it three times and focus on one musician each time. And you'll just see something new every time. Track 6:[20:54] I love that idea. Yeah. I love that idea. And thanks for that. On my first solo record, because I always thought... I got a drum kit when I was 30 as a birthday present, and it was Johnny's kit. Well, he set it up. And so my wife got it for me, Joanne. And then, so I was just drumming secretly in the basement, just because I always wanted to try it. And so my very first record, Fix His Head, which was like, I don't know, 15 years ago or something. Track 1:[21:27] 2010, yeah. Track 6:[21:30] Yeah, so 13 years ago and... I was just on my own. It was just me. And really, I was in there, in our studio, just with the engineer. Like, it's quite awkward, really. Because it's just the two of us, you know? I'm like, Aaron, you go outside or go do what you're going to do. Just give me the song on a loop. And I'm just going to play the song. And if I get a good one, I'll run into into the control room and push the space bar and stop it. And so that's how I drummed, really, because I just didn't like him kind of just being bored in there, probably on his phone. Yeah. Track 5:[22:10] Hovering. Track 6:[22:11] So anyway, I did all the drumming on Fix His Head. And it's not stellar drumming, but I was happy enough with it that it passed. I mean, it would have been way, if Johnny or Billy Anglin was playing, obviously, it would have been way, way better. But I wanted it to be a private record. I didn't really want to put it out. Track 1:[22:33] That's crazy. That's so crazy. But it's interesting you say that. I have a question for you that's been bothering me since your new record came out. Your new record is called Guess What, and it's the Paul Langlois band. But I go back into my old records that I have. I have them in Apple, so they're digital. And they say, like, fix this head, says Paul Langelois band now on it. But wasn't it just Paul Langelois before? Track 6:[23:02] Yes. Track 1:[23:03] Oh, so I'm not going crazy. Track 6:[23:06] Yeah, no, you're not crazy. You're not going crazy. I mean, it drives me a bit crazy, really, the thought. And Joanne hates, hates Paul Langlois Band, hates that there's no the. Oh, really? Track 1:[23:19] She's like, Jake. Track 6:[23:22] Yeah, the hips are my manager. My manager is also the hips manager, Jake Gould. He does a great job, but he was kind of, he was very in favor of just Paul Langlois Band. And I'mlike, okay, that's awkward, though. Wouldn't you say the Paul Langlois band? Track 1:[23:39] Yeah. Track 6:[23:40] Two guys in the band, Greg Ball especially, was like, no, Paul Langlois. Don't say Paul Langlois band, your first two records were Paul Langlois, so just Paul Langlois. And through the agents and all the people booking and stuff, it's like, well, the Paul Langlois band would probably be more appealing as an act to book, because I was trying to playfestivals this summer. And so I was like, okay. And then it's like, oh, by the way, we gotta go back. And it's all because of Spotify. Everything's because of Spotify these days. Track 1:[24:15] Oh, God. Track 6:[24:17] You gotta go back and call your first two records Paul Langlois banned because if someone searches, I don't understand it, but the algorithm, whatever it is, if someone searches,guess what, Paul Langlois banned, my first two records aren't gonna come up. And so that convinced me. I'm like, I want my first workers to come up. Track 5:[24:36] It happens. Track 4:[24:37] But that's the same thing with Malcolmus and the Jicks. Do you guys, I don't know if you guys know that. He has the same, that's a weird thing on Spotify. They want it to come up. They wanted to come up the other records so everybody can access all the music. And I get it because you also want people to listen to your, you know, your other records. But it's also like that. Track 6:[24:59] Yeah, I would like that. But I get it. But I hate it. You know, it's, it's, it's silly. It's silly. Track 4:[25:04] Me too. Track 6:[25:05] Paul Langlois would come up. Just if I call this the Paul Langlois band, which is- Change the algorithm, man. Track 4:[25:13] Change the search bar. Like make them both come up. Track 1:[25:16] Jesus Christ. Track 5:[25:18] That's funny you mention that Paul, at one point during our discography review of you guys I said, yeah, I love this whole process but the hip has totally fucked up my algorithm inSpotify. Like every time I play something now it's like something associated with the hip. It's like all these other bands but I have discovered some other bands. Track 1:[25:39] We were talking one day, Tim and I were talking, I was out for a walk and he's like, you're going to get a kick out of this, Paul, cause he's like, who is April wine? Oh, really? And I was like, April wine is like a seminal Canadian. Track 5:[25:52] Absolutely. Many, many hits. Track 6:[25:53] Big band. Good hits. Good. Yeah. Track 5:[25:59] Yeah, they're, they're fucking cool. Like I would, that was a fun surprise for me. That was, you know, thanks to the algorithm. So, but that, but that was, that was one of those things, you know, So 10 years, 10 years between Not Guilty and Guess What? Track 1:[26:18] Yeah. Not Guilty was 2013. Obviously that was a fucking giant 10 years in your life. What changed singer-songwriter wise? What did you take from that 10 years of experience and put onto this record? Is there anything you can lay down for us? Track 6:[26:47] You know, I think I got the… Lyrics are my toughest. That's the toughest. It's like finishing the bathrooms, you run out of money. And so, oh yeah, let's go for the vinyl shower. And so that's what I would do with lyrics. I'd kind of almost get, I get somewhere, but then I just stop and I didn't know where to go. So I think time passing more than anything. Gord, Gord passing. Track 1:[27:18] Yeah, yeah, of course. Track 6:[27:19] Time passing, the way the tour was so special, such an achievement on all our parts, but especially for Gord. Of course. The achievement on his part was unbelievable. It was unbelievable to watch, like from the inside, just how hard he worked and how driven he was. Was, like he didn't stop. And so I think that kind of affected, that helped me just with lyrics. Time passing, the girls moving out, my daughters, you know. And you know, now it's like in my 50s. And it's kind of like, I think that sort of just came through in the songs, Will to Fight, you know, just anything, just kind of like. So there was that. I didn't think I would ever, like I just was not interested in songwriting until I got offered a gig. And it was a few months away. And Joanne said, well, you've got to do it. And I'm like, well, I've got to put a band together. I'm not fucking into that. Who would I get? [28:34] Anyway, so then I thought of they're all buddies, Kingston buddies, and musicians, but they all have other jobs. And, um... Yeah, and then we started rehearsing and playing and and It was fun and so I decided I had a couple of songs Okay, maybe I'll finish those and we'll have a couple of You know new recordsongs. I was just playing my first two records kind of thing and then that was the end of August last year and and I booked the studio for November 7th, I think or 8th and And so then I had adeadline, so in September and October, I just kept throwing songs at them and I kept writing. And so it was the first time I'd written anything in 10 years. Like I just, I hadn't written anything. And then it was like, oh, wow, this is fun. These guys are good. And so the whole record is live. I mean, I play guitar and at the same time, I didn't do anything except one scratchy vocal. I redid one vocal, but we're playing live and there were very little fixes and very little overdub. Joe overdubbed a couple of solos. [29:54] So it was just kind of exactly how I wanted it to be and it was very reminiscent of how the hit recorded. You know, we like to not make mistakes, go into the control room and be like, yeah, this is a one. Of course, we'd leave it mostly up to Johnny, because the drums have to be right. He would always pick the ones that we wanted, without even talking about it. Okay, we like take number three. That was a very similar process to recording in the hip or in the bathhouse, so it was all very inspiring. So I'm a new person, honestly. I really thought I was done. Gord died, I just thought, well, we had a good run. It's sad. Yeah. But it was like 32 naturally years actively together. It's been longer now, but you know, all of us together playing and it wasn't like a five-year run, you know? And so I just thought, okay, that's good. But you know, yeah, we did it. And I'm just going to move on and come up with other things. Track 4:[31:07] I just didn't come up with anything else. No, but 638 Main says, like, I got a window into the song where you were at with this record and what kind of the question that JD asked. Like that I was like, okay, I see kind of where Paul's Brain was at with this record and like that's fucking cool, man. I'm so happy for you, dude I don't know. I had the same shit too before we recorded like before I Jumped in with this band that I'm in man. I was just kind of like, all right, I'm done playing music and then you fall in and then you get a band together and then you're like Like, oh, this is fucking, this is fun, man. This is rightwhere it should be. Track 6:[31:52] Yeah, you forget how fun it is. I did. And it's funny you mentioned 638 Maine. Not many people, but I have a couple of quirky friends that are like 638 Maine, man. I love that one. Whereas most of my friends, I'm sure they've never mentioned that song. I don't think it's necessarily a skipper, but it's an odd one. Track 4:[32:14] And basically- That's what's cool about it. Track 6:[32:17] Yeah, it's, you know, to me, it's cool, because I made it up on the spot. I didn't have anything written down. And I just pictured myself. Track 1:[32:26] What? Track 6:[32:26] Like I'm talking about what it's like to be in a studio. And we were in there eight days. And Greg and I, those guys were going, like there's a firefighter, construction, a factory shiftworker. Greg's a waiter, so he took the eight days off. And I don't have another job, so I did too. So Greg and I were out there the whole time. And a couple of nights, it was late. They were all latenights. And I was just sitting there, just like, oh, it'd be good if I could set myself in a bar to describe what it's like being in a studio. I didn't know if it was Monday or Tuesday. It was kind of like, you're lost in the music. You're lost in the recording. So I thought, and we only had nine songs, or nine that I liked. And so I was like, I want to try this one. And I just made it up. I just like set myself on fire. And then I'm kind of chasing the song. You know, it's all turning out like it should or whatever the words are. Track 4:[33:29] But it paints the picture, man. There was a hip song like that too. Do you remember, Tim, the apartment where Gord was describing the apartment? You know what I'm talking about? Track 1:[33:40] Apartment song. Track 4:[33:40] But that 638, man, it paints the picture, man. Track 6:[33:44] Oh, well, thanks. Thanks. Yeah. I was, I was very, uh, very happy with that. And Greg and Joe were asleep on the couch in the control room. So it was just, I just laid it down on acoustic and then, um, and saying it. And... And Bill and Matt, drums and bass, they played. And Joe and Greg were kind of pissed off because I missed it. So I allowed them to add a guitar and backup vocal. Track 4:[34:23] So anyway, I'm glad you mentioned that. It's cool, man. It's a deep cut. Deep cut. Yeah, we're going to Kingston. And for the finale we're doing is September 1st, but I think the day before or the day after we're going to Kingston. Yeah, August 31st. Track 1:[34:41] We're doing it. They're flying in August 30th. And uh, we're doing a road trip to Kingston. Track 6:[34:48] You're kidding. Track 1:[34:50] No. Oh, yeah, we're gonna do it. Yeah. I've got it right. Track 4:[34:54] Like I mean, yeah, I'm gonna be so dragon ass, man. Track 5:[34:59] It's all part of this process. Track 6:[35:00] That's what are you? Are you kind of Just doing it for fun. I'll meet up with you either way whether you're recording something or not That would be amazing to buy you a beer yeah, yeah, that would be absolutely amazing Yeah, we check the redhouse. Just get in touch with me. Track 4:[35:19] All right Let's do it, man. Let's do it. Track 5:[35:22] Let's do it Yeah, we're flying into town and we have an event at the rec room in Toronto on September 1st. So that's that's like our Our grand finale of the pod is we're meeting up and there's a tribute band, 50 Mission, playing at the Rec Room and we're doing this fundraiser for the DanielWinsor Fund. Track 6:[35:45] Oh cool. And so are you going to be, is it an event where you're not sort of talking together or are you guys going to get up and sing? Track 1:[35:54] We're going to record the final episode of the podcast at this event. Track 6:[35:58] Oh cool. Track 1:[35:59] So they'll finally reveal whether or not they're hip bands, which they've done a poor job concealing it. It's so funny at the beginning, they would be like, Pete would be like, oh, yeah, there's this lick that the rhythm guitarist plays. And you know, then later on, it's like, Paul Langlois, am I saying his name right? And then later on, it's just Paul. You know what I mean? Track 4:[36:21] I had no concept of your existence, man. I mean, I was like, what's this guy's, who's this guy's name? Now it's like, everything's off the tongue, man, but I, by the way, I gotta ask you, and I know they're for different things, but what do you prefer about it? Do you like your telly or do you like the Les Paul? What's the, what's the one that you're, that you, if you die with the guitar in your hands, the one you want in the hands? Track 6:[36:45] I mean, it would kind of, it would have to be to tell you, I'm playing the telly on the solo band shows. Okay. So, I've gone back to the telly. I don't regret playing a Les Paul. I started Les Paul day for night on. And that was a black one, Black Beauty. But then I switched to a Sunburst, which I love that guitar. That's my second favorite. That's my second favorite. But the Tele for sure. That was the first electric I bought, like officially bought to play in the band. And I'm using it now. And yeah, it would be the Tele for sure. Track 4:[37:28] I never played a telly ever until about six months ago when I visit my family in California. I walked into a guitar center and I went into the expensive room that you're not supposedto go in. I sat and there was nobody there. It was just a ghost town. I sat with a telly for like an hour and I was like, jeez, man. I got it because I always played a Strat. I got a Jazzmaster, and an SG, but I never, and I've never played, I mean, I played a Les Paul once, twice, but I never owned a Les Paul. That's thenext on the list. But a Tele was, I liked it. Track 6:[38:05] Yeah, well, see, it's funny, because I find a Strat the most different guitar, and because Robbie played it already, and he was like, he had 15 years of experience on me, because Ididn't start playing until I was 19, and he started playing, he was small. And he was playing a Strat. And so I was like, I mean, I started out playing acoustic and after a while I was like, fuck this, I can't fucking hear. And I had a big train ramp and it was just like, it was impossible to, I'd turn it up to, and I got electrocuted all the time because it was a old shit. Well, I finally said, I'm playing electrocute It's a lot of telly and because I figured that telly is kind of the opposite of a strat almost and I've never really ever tried to play a strat, like Ireally honestly never have. Les Paul's and Telly's I find are way more similar. The Strat to me is a different one. It's super cool, but it's just not my thing. Track 4:[39:13] I just like the pickups, man, like that Steve Miller tone, that Buddy Holly, those 57s and those 59s, those pickups are just so tinny and, you know. I don't know, I like that. Yeah, no, it's amazing. Track 5:[39:31] So, when we were just getting into Saskadelphia, right, and I'm listening to Crack My Spine the other day with my headphones on, you know, because I want to hear everything, andyour guitar on that was just like, it kind of just sounded like, it reminded me of the Ramones, like you were just kind of playing some power chords through there. It just reminded me of like 80s kind of punk rock, you know, and I just, I just loved that about it and it's been such an interesting thing hearing you guys playing guitar because, you know,most bands you got bass and drums kind of linked up as the backbone and you might have a lead guitarist but you might not or a rhythm guitarist but you guys were just like playing guitardoing your thing and it works and I think that's just such a cool rare thing about a band that you guys pulled off. And then it's been so fun to then go on and listen to your solo stuff and hear your evolution too, because we don't get this opportunity with bands very often in general. Like how many bands are still around or guys still around? Well, that's so cool to hear. Track 6:[40:43] You know, what I would credit that the most, or whom I would credit, is Don Smith, who produced Up to Here and Road Apples, because he handled us, he hard panned us, left andright, Robbie and I. So listen, I listen to ACDC, and sorry, but Malcolm Young isn't loud enough. Like, it's like the guitars are like this. Track 5:[41:12] It's true. Track 6:[41:14] So Don panned us. And so then every producer after that, and our guy, Mark Breakin, who actually helped us produce our only record we did without a producer was Trouble at theHen House. And Mark Breakin still mixes, you know, he mixed Saskatoon, he's been our sound man and our live sound man for the whole time. Although he did leave to bigger and better things for a good chunk of 15 years or so, but he's back with us and he pans them too. So he, so you can hear one in one ear, one in the other. I'm deaf in my right ear, So I have to listen to it twice just to. You know, hear what Robbie's doing, the odd time I'm interested. [42:03] But I credit Don because Don did that and he was super cool and we were so, he was unbelievable and we couldn't believe we were working with him. He'd done Traveling Wilburys and he did everything and he was Mr. Cool and he was just like, you guys just do your thing. And this is when we were young, impressionable, you know, we wanted to do our thing, but we figured, you know, people are going to tell us, you know, you should be a bit more countryand people did, you know, a bit more country, maybe or something. Don was just like, just do your thing. And he panned the guitars. So basically, he, he, I credit him with my job. Because people can hear me if they want, you know, if they're taking a closer listen, and like you guys do, it's kind of like all my parts are just naked on one side. At one point though, I made a list, and it's an ongoing list of songs where I'm in the right speaker if you're looking at it. I'm always on the left, and Robbie's always on the right. Except more and more, I'll check it, and I have like a list of about 12 songs where I'm on the right and Robbie's on the left. My producer decided to switch it. Track 1:[43:20] Oh, funny. Track 6:[43:23] Which is curious to me. Because when I put on headphones, so I can only hear out of this ear, 100% deaf in this one. Wow. I always put the left ear, because that's me. Oh, shit. Track 4:[43:37] And then you go. Track 6:[43:39] And then the odd hit song I'll run into, and it's kind of like, that's not me. That's Robbie. Track 4:[43:44] Who's this shitty guitar player? Track 6:[43:46] We didn't listen to each other at all, by the way, not at all. Track 4:[43:53] It's funny, dude. Paul, when you guys did Trouble, man, and that was a record, I think Tim and I, I don't know, I'm speaking for Tim here, but for me, that was the record where I was like, it finally openedfor me. And I got everything prior to that too, but that record was like, okay, this band doesn't give a shit about what anybody thinks, man. Just gonna do their own thing. And that's where I was like, you guys grew into this just animal that nobody knew existed. I don't know, man, that was a that was a break. That was the record that JD when JD flew to Malaga for primavera sound last year, he brought a vinyl and this is me still not knowinganything about you guys. And he brought me trouble at the house. And I was like, Yeah, I do you remember? Track 1:[44:48] Do you remember I mailed you trouble at the hen house on CD. And you're like, I don't have a CD player. I was like, who doesn't have a CD player? Track 4:[44:56] We moved here and I and then yeah, because we moved from the state. Anyway. Yeah, yeah. Track 6:[45:07] It's it's funny. Just to add something, because I thought of it earlier, very early on this chat, you were saying something, Pete, that I thought of, and I'm like, oh, fuck, I thought ofsomething good to say, and I forgot, but now I remember. So there was this band, there's this, I don't know that they're a band anymore, they're from Philly, and they're called Marah, M-A-R-A-H. [45:36] And they're a couple of brothers. And anyway, out of the blue, the day after our last show, the singer writes Robbie a letter. And he's like, and he describes, the letter makes me cry. me cry like it he describes his life and you know they got signed to, Maybe Steve Earle had a label, someone like that. Oh, nice. Nashville person. So they had some success, but they just ruined everything all the time. That was just their nature. You have brothers, and any time things started to go well,they would kind of blow it up. And then he described, he goes on to describe, he was out in the country on a TV at a cabin he doesn't use, but he happened to throw on the TV, and the CBC covered that show live, youknow, so it was live on the air, and he describes, you know, watching the show and what's about to happen, and what was my point? Well, there's this thing in the doc that Robbie quotes him, like, what's going to happen here? You know, are they gonna all bands either explode on the way up or on the way down everything? [47:01] Burn out nothing works out and What are you telling me? These guys are gonna pull the he compared it to a You know an air balloon, whatever they're called parachute No, like a balloon, you know, oh, yeah hot air balloon what they're all gonnapull it down and and land safely, like win rock and roll or something. It's just kind of like, anyway, it was just an amazing letter years ago. And I've always had the intention to kind of reach out to him and say, fuck your letter, man. Cause he, it's way more than that. Another thing he said is he would try, cause this is quite like this podcast that you're doing JD. He would, he learned not to play the hip to people, to his friends, to anyone, various girlfriends. He was like, I'd never do it. If he found a real hip fan, he said, like because they're touring, right, in New York or London or wherever, as soon as he realized it's a real hip fan, they'd be at the back of the bar. He'd take them to the back of the bar, and they'd have pints, and they'd talk about all things hip. [48:18] And anyway, so he said, if someone came over to my house, and I trusted them enough to play the hip, And they started talking over the music. That's it. Christmas lights off. Everyone's going home. [48:34] He's an amazing writer. Track 4:[48:38] It's so true. I said that to JD a couple of weeks ago when I was in California this last time in May. We were driving to Joshua Tree. And I fucking hate when people put on music and they're like, listen to this band. You're going to love this band. And it's like, you build it up, right? I didn't do that. I grabbed my buddy's phone, we're driving down, I don't know, 64 or whatever it is, down in Joshua Tree, 29 Palms, and I just grabbed his phone and I put on Trouble atthe Inn House. Yeah. And he's like, who the fuck is this? Track 6:[49:10] That's how to do it. Yeah. Track 4:[49:12] That's all I did. I played a couple tunes and he's like, who's this band? I was like, oh, it's... And then, you know, cause you don't set the expectations. Yeah. Track 6:[49:23] Yeah, no, exactly. That's how to do it. That's the downy way, actually. Did Gord and all his brothers. You surprise somebody. If you give people warning, it's not the same, you know? Yeah. It's just like, no, no. Track 1:[49:38] Expectations. Track 6:[49:39] Yeah, and when Gord was sick. Track 5:[49:41] It's true, it's true. Track 6:[49:42] His brother was looking after him mainly, and I was mainly there to help Pat. Someone would be, I wanna come over and see Gord, you know, because there was no tour in the future. Like, we all just thought this is it. And I was like, oh, this guy wants to come by. And Pat's like, well, just don't tell Gord about it. Tell them to come but we won't tell them about it. It'll just get surprised. That's how the Downies do it. It's like, oh we're here. Track 5:[50:10] That's cool. Track 1:[50:15] Paul, I know we said 45 minutes and we're over so I'm sorry for taking more of your time than we should have. No problem. Track 6:[50:20] I still got seven minutes before the next one. Track 1:[50:26] Oh wow, you're on junket mode, eh? Track 6:[50:28] Yeah, three today. Track 1:[50:32] Oh wow. Well, any chance we'll see you on the road in the fall? Or is it just take it as it comes? Track 6:[50:43] Take it as it comes, yeah. Sort of trying to stick to festivals, but obviously they start disappearing when the fall comes. So, unknown. So, I've got two more gigs in August and like one in Windsor-ish, Kingsville, and one in Bath, where our studio is, and those are both in August. Track 1:[51:08] It's been great talking to you. So great. Track 6:[51:10] Yeah, great talking to you guys. It's nice to meet you too, as well. Track 4:[51:13] Nice to meet you, Paul. Thanks for your time, man. Track 6:[51:17] Hey, we'll talk again. Track 5:[51:18] Yeah. Track 6:[51:18] Good luck with everything. Track 5:[51:19] For sure. Track 4:[51:20] Take care. Track 5:[51:20] Thanks. Track 6:[51:21] OK. See you guys. Track 5:[51:22] All right. Cheers! Support this podcast at — https://redcircle.com/gettinghiptothehip/exclusive-contentAdvertising Inquiries: https://redcircle.com/brandsPrivacy & Opt-Out: https://redcircle.com/privacy
Mike is not only incredibly knowledgable, incredibly likable, and a heck of a guitarist - he's one of the most boisterously happy and upbeat people I've ever talked to. Mike is the offset guitar guy - and we cover some of that in this episode. Mike is one of the best hangs in the business and it's easy to get lost in conversation with him on any topic, just like we did in this episode! I hope you enjoy this episode as much as I did!Find Mike Adams on:YouTube: https://www.youtube.com/@PuisheenInstagram: https://www.instagram.com/puisheen/NEW PARTNERSHIP! I've partnered with TourGear Designs to get you 10% off the best patch cables in the game! You can use my affiliate link (https://www.tourgeardesigns.com/discount/40WATT) or just use the code 40WATT at checkout to get 10% off your order! If you want to save even more, Patreon supporters of the show get 20% OFF! Check out my post over on my patreon page for more information! Support the show at: https://www.patreon.com/40wattpodcast/Find guitar lessons on TrueFire (remember to use code 40WATT): https://bit.ly/3t0v1ZdFind all of the podcast links at:https://www.linktr.ee/40wattpodcasthttps://www.40wattpodcast.com/40 Watt Merchandise: https://40-watt-merch.creator-spring.com/Reverb Affiliate link: https://reverb.grsm.io/phillipcarter5480StringJoy Affiliate link: https://stringjoy.com/partner/fortywatt/Amazon Affiliate link: https://www.amazon.com/40wattSubscribe to the channel and give a like – also find us in audio format wherever you listen to podcasts and leave us a review and share us with your friends. I've partnered with TourGear Designs to get you 10% off the best patch cables in the game! Use my affiliate link (https://www.tourgeardesigns.com/discount/40WATT) or just use code 40WATT at checkout to get 10% off! If you want to save even more, Patreon supporters of the show get 20% OFF! Check out my post over on my patreon page for more information!Support the show
To Support the Channel:Patreon https://www.patreon.com/AskZacTip jar: https://paypal.me/AskZacVenmo @AskZac Or check out my store for merch - www.askzac.comI have always had a jaundiced view of the Fender Jazzmaster. I thought it was only for surf, punk, or players with extremely large pedalboards. I learned I was horribly wrong after spending time with Dan Strain's 1965 Jazzmaster. They are beautiful sounding instruments that have their own very identifiable sleek & sinewy sound. As a known Tele-Guy, I take a look at the Jazzmaster, and spotlight what I see as its strengths, and how I was quite uninformed when it came to my former opinion on them. As a bonus, I take a quick look at a 1967 Guild Starfire V that was modified with a Lollar Firebird pickup in the neck.Some great additional info on Jazzmasters:Guitar Moderne's (Michael Ross) excellent overview with helpful clipshttps://www.guitarmoderne.com/gear-2/...Five Watt World's short history • The Fender Jazzma... Gear for this video1965 Fender Jazzmaster with Mastery Bridge. Restoration and aging on the body and neck by Dan "Danocaster" Strain.Strings: D'Addario NYXL 10-46Pick:Danocaster MediumAmp:1965 Deluxe Reverb with Celestion Vintage 30 speaker, and bright cap clipped on the vibrato channel.Effects used:TC PolytuneMirage compressor pedalAnalogMan Boss TR-2 TremoloIbanez Mostortion OverdriveBoss DM-3 DelayLine 6 Echo Park Delay9v power via Truetone CS6 (Amazon Aff link) https://amzn.to/38S9rZK #askzac #guitartech #jazzmasterSupport the show
Guitar Geeks Podcast: Mer än du vill veta om gitarrer, förstärkare och allt däremellan.
Andreas träffar gitarristen Sebastian Lilja. de pratar om soloprojektet "Hush Forever", Jazzmaster, megapedalbordet och mycket mer! Mycket Nöje! Stort tack till alla som supportar oss via Patreon: https://www.patreon.com/user?u=32426577 och Swish: 1236293344
The always-entertaining guitar tech/writer/historian/musician Michael James Adams (@puisheen) joins Jason this week to talk about life updates, offset Fenders, the proper setup of a Jazzmaster setup and so much more. In a new feature, we then recap some of the memorable guitar news of the month of March 2023, including some cool guitar-centric events, the new EMG pickups for Jazzmasters (the EMG Retro Active JMaster), Taylor Guitars selling direct, the JHS Show / Digitech Bad Monkey saga, the passings of some great guitar heroes, and a lot more. https://www.instagram.com/puisheen Want to meet Michael, Josh Scott, Bill Frisell, and dozens of other guitar luminaries? Come to our 2023 Fretboard Summit August 24-26, 2023 at Chicago's Old Town School of Folk Music. Register here: https://fretboardsummit.org/ Our podcast is sponsored by Retrofret Vintage Guitars; Deering Banjos; Peghead Nation (use the promo code FRETBOARD and get your first month free or $20 off any annual subscription); Izotope (use the coupon code FRET10 to save 10% off their plug-ins); and Stringjoy Strings.
Bush had an unbelievable debut with 1994's Sixteen Stone that eventually surpassed 6x platinum status. The post-grunge juggernaut continued making moody, mercurial, and sometimes menacing music has continuing mutating while keeping them modern with a total of nine full-length releases with 2022's The Art of Survival as their most recent chapter.The band's headlining Ryman tour stop was furthering their support for the October 2022 release where the camp invited PG's Chris Kies onstage to catalog their compact setups. Guitarist Chris Traynor starts the chat covering his instruments that run the gamut from import steals to one-off custom baritones with and without frets. The baton gets passed to Gavin Rossdale tech Trace Foster who covers the frontman's arsenal of Strats, SGs, and Jazzmasters before breaking down Rossdale's core patches living within his Fractal Audio FM9.Brought to you by D'Addario XPND.
Brock Pytel, best known as the singing drummer for late 80's Montreal pop-punks The Doughboys, has just released his new solo single, Anemic Heart. The single is the follow up to his 2022 single, Hurrah Hooray. The Vancouver transplant's two latest singles were both from a session he did in 2011 at Montreal's Hotel2Tango with Howard Bilerman (Godspeed You! Black Emperor, Arcade Fire) after some Doughboys reunion tour dates with The Foo Fighters. The track features two of his former bandmates, Jonathan Cummins on the Jazzmaster, and Jon “Bond Head” Asencio on bass (both of whom are in Montreal's The Low Sixes) and was mastered by Ronan Chris Murphy (Gwar, King Crimson). The song meanders from jangly verses that seem to be pulled from The Rolling Stone's “Their Satanic Majesty's Request” into melodic choruses that call to mind 90's pop crossovers like The Fluid or Afghan Whigs. Accompanying the new single is Pytel's video for Anemic Heart, filmed and edited by prolific Vancouver artist RD Cane. The video features blurry cityscapes, fires and idyllic beach scenes that compliment Pytel's melancholic lyrics and harmonies, painting the contrast of a love gained, then lost. In the years between the sessions for the singles and their subsequent releases, the recordings fell into an extended dormancy. Pytel was buried under seemingly endless hours working in Vancouver's film industry where eventually the stress and lack of sleep caught up with him. Reflecting on his mortality, (after serious health issues in 2020) Pytel explained, “One of the things that really hit me at that time was how little music I'd put out into the world compared to how big a part of my life making music is. I was really motivated to get things going in that regard. These digital singles are me clearing my plate, so to speak, and making room for the new. When things seem to be lagging with the SLIP~ons (waiting for mixes, etc.) it helps with the frustration of working on getting these songs out.” With renewed vigor and determination, Pytel plans to complete more solo singles from the H2T sessions in the months ahead, and unleash a 5-song vinyl EP of his power pop band SLIP~ons in Summer 2023. D I S C O V E R Bandcamp: http://brockpytel.bandcamp.comInstagram: https://www.instagram.com/brockpytelFacebook: https://www.facebook.com/brock.pytelSpotify: https://open.spotify.com/artist/1NQdziyMx6vWJyVlUv27a0?si=obKMIc9cR5e-SsftdX7RJA Brought to you by AIXdspShop now and get up to 50% off on all plugins.Website: HEREPledge monthly with Patreon https://www.patreon.com/apologueShop Apologue products at http://apologue.ca/shop
Joan and Emily talk about the recent surprise release of the Strymon Cloudburst, the brand's smallest form factor to-date and a great reimagining of the Big Sky's Cloud algo. They also chat about Emily's Goil Foil Jazzmaster (which will soon be with some other demo artists). Then, they talk about the Satanic Panic and the GRAMMY Awards, sharing their highlights. Like the podcast? Support us on Patreon for some sweet perks! We have merch, including additions to our For Fuzz Sake lineup! Get some, get SOME. Support Get Offset by... Subscribing on Patreon: https://www.patreon.com/getoffset Shopping on Sweetwater: https://imp.i114863.net/GetOffset Shopping at Perfect Circuit: https://link.perfectcircuit.com/t/v1/8-12626-262719-9759 Shopping on Reverb.com: https://reverb.grsm.io/getoffset7407 Shopping our Merch: https://getoffsetpodcast.com/shop/ Saving 7% on Your DistroKid Account for the First Year: http://distrokid.com/vip/getoffset --- Send in a voice message: https://anchor.fm/getoffset/message Support this podcast: https://anchor.fm/getoffset/support
On this week's podcast, we're talking to singer-songwriter Lincoln Barr, who recently released a gorgeous new album, 'Forfeit the Prize.' Lincoln was a fixture of Seattle's music scene for years but currently resides in Lexington, South Carolina. That hasn't stopped him from assembling an all-star group of musicians - scattered around the country - for his latest project. During our interview, we talk about his influences (including Burt Bacharach), how he assembled the lineup found on his record, his songwriting process, and more. To coincide with this interview, we'll be posting a new video with Lincoln performing at the Fretboard Journal's Seattle headquarters. Follow us on YouTube to watch it.
This week, Emily and Joan talk about a surprise drop from Fender—the Gold Foil Jazzmaster (available in Shoreline Gold and Candy Apple Burst). It's a Teisco-inspired Jazzmaster that we're pretty wild about. We also discuss the Rainger FX Minibar and the new FloraVolt pedal by Mattoverse. The two then touch on a recent story in the news: John Fogerty of CCR reclaimed his publishing rights after 50 years. This is the man who was sued for sounding too much like himself. There also may be talk of the Gaye Estate suing people. Like the podcast? Support us on Patreon for some sweet perks! We have merch, including additions to our For Fuzz Sake lineup! Get some, get SOME. Support Get Offset by... Subscribing on Patreon: https://www.patreon.com/getoffset Shopping on Sweetwater: https://imp.i114863.net/GetOffset Shopping at Perfect Circuit: https://link.perfectcircuit.com/t/v1/8-12626-262719-9759 Shopping on Reverb.com: https://reverb.grsm.io/getoffset7407 Shopping our Merch: https://getoffsetpodcast.com/shop/ Saving 7% on Your DistroKid Account for the First Year: http://distrokid.com/vip/getoffset --- Send in a voice message: https://anchor.fm/getoffset/message Support this podcast: https://anchor.fm/getoffset/support
The Jazzmaster Master...no wait that doesnt sound right... the Master of Jazzmasters? uh shit.... The Man who modifies and designs custom versions of the often overlooked Jazzmaster ( Want me to say master again? because his Jazzmasters have Mastery bridges on them...alright I'll stop now). Shelby Pollard from Black Bobbin is who I am referring too and if you don't know what Black Bobbin does I will fill you in. Black Bobbin curates limited versions of pedals and gear, they sell coffee, and you guessed it....they do a whole lot of Jazzmaster Stuff. You can give Shelby your Squier or Fender and he will turn it into an incredible instrument complete with a specially designed wiring harness and custom voiced Lollar Pickups or, if you're in a higher tax bracket than your boys here at The Underground Sessions (Which is not saying alot) , you can have a custom designed Black Bobbin JM (I'm abbreviating now deal with it) built in partnership with Iconic Guitars. Theres alot to talk about here but let the guy who runs the company tell you about it. The Jazzmaster Mast...nevermind.. If you liked this interview please hit the links below and follow/subscribe to us and Black Bobbin! (P.S Theres some pretty great videos we shot with shelby on our youtube page) Make sure to visit Shelby at Black Bobbin https://blackbobbin.com https://www.instagram.com/blackbobbin... THE UNDERGROUND SESSIONS SOCIALS: https://lnk.bio/The_Underground_Sessi... INSTAGRAM https://www.instagram.com/the_undergr... --- Send in a voice message: https://anchor.fm/undergound-sessions/message Support this podcast: https://anchor.fm/undergound-sessions/support
Explore jazz saxophonist Pharoah Sanders' connection to the jazz masters of the Avenue.
Chasing Tone - Guitar Podcast About Gear, Effects, Amps and Tone
Brian, Blake, and Richard are back for an all-new episode of the Chasing Tone Podcast!Blake introduces us to the Wyland car bomb, something that may or may not be illegal in 14 states, and instructs us on the special methods he employs when it is in play. Richard has fallen in love with Jazzmasters and Blake tells him I told you so in a much nicer way than if the tables were turned. This eventually turns into a conversation about Squier's 40th Anniversary range via ridiculous torque wrench pressure measurements. Richard then tries terribly to retell the story of "Trigger's Broom" as an analogy but gets nowhere fast whist accusing Blake of reading classical greek literature and Brian purges his cache live on air. There's been some industry news from Fender with a number of layoffs changes and the guys discuss this and the ramifications for the industry and the consumer. There have been some interesting new stats around the consumption of "New Music" versus "Old Music" and the guys dig into the implied consequences not just for music but also culture in general. This then expands on to predictions for the future of music and possible use of AI. Brian also makes a little apology before repeating himself. Stout hacks, Silver Strats, 4000 PSI, Buff Brian, Thought experiments ...it's all in this week's Chasing Tone!We are on Patreon now too!Support the show (https://www.patreon.com/chasingtonepodcast)Awesome Merch and DIY mods:https://modyourownpedal.com/collections/booksFind us at:https://www.wamplerpedals.com/https://www.instagram.com/WamplerPedals/https://www.facebook.com/groups/wamplerfanpage/Youtube:https://www.youtube.com/channel/UCdVrg4Wl3vjIxonABn6RfWwContact us at: podcast@wamplerpedals.comSupport the show
This episode begins with a birthday tribute to the Father of Jazz, Louis Satchmo Armstrong. That is followed by recognizing the NEA Jazz Masters, class of 2023; Louis Hayes, Regina Carter, Kenny Garrett and Sue Mingus. Playlist Artist ~ Name ~ Album Louis Armstrong ~ When It's Sleepy Time Down South ~ Ken Burns Jazz Louis Hayes ~ Silver's Serenade ~ Serenade for Horace Kenny Barron & Regina Carter ~ Footprints ~ Freefall Kenny Garrett ~ Sing a Song of Song ~ Songbook Mingus Big Band ~ Gunslinging Bird ~ Mingus Big Band Live at Jazz Standard Charles McPherson ~ Deep Night ~ First Flight Out Matt Dwonszyk ~ Old English ~ A Year and a Day Joe Farrell ~ Sound Down ~ Outback
On the July 16 edition of the WBGO Journal, the new class of NEA Jazz Masters is announced, WBGO's Gary Walker chats with pianist Bill Charlap about "Jazz in July" and singer and executive producer Melissa Walker runs down the 2022 Montreal Jazz Festival
For nearly two decades and across five albums, https://www.premierguitar.com/artists/the-war-on-drugs-driving-music-for-the-american-dreamscape (The War on Drugs)' founder and frontman Adam Granduciel has narrated our complex modern lives while his band has scored our dreams. The captivating moods of their music, much like us, morph from dense melancholy to saturated, swirling madness and everywhere in between. Granduciel often layers his Springsteen-meets-Young proletariat prose atop a post-rock soundscape, but the heartbeat of their impressive, expansive live shows is their gear and how it is implemented. “I could play the whole tour with two or maybe three guitars—a https://www.premierguitar.com/gear/1958-gretsch-6136-white-falcon (White Falcon), Strat, and maybe a Jazzmaster—but I bring all these out just for fun,” he says with a laugh as he considers his trove of axes. So, let's have some fun already! Before a full evening of The War on Drugs' jams in support of 2021's I Don't Live Here Anymore, PG was invited to Nashville's historic http://ryman.com/ (Ryman Auditorium). We covered Granduciel's growing guitar collection, got the skinny on how Jerry Garcia's monstrous setup played into the bandleader's theatre rig, and we took in a cockpit view of his stompbox squadron full of tone ticklers, sizzlers, and wigglers. In addition, bassist David Hartley showed off a trio of Ps, an armada of Ampegs, and demo'd a fuzz that has ended his quest for razing tones. Brought to you by https://ddar.io/xpnd.rr (D'Addario XPND Pedalboard).
The Jazz Masters: Setting the Record Straight (UP of Mississippi, 2021) is a celebration of jazz and the men and women who created and transformed it. In the twenty-one conversations contained in this engaging and highly accessible book, we hear from the musicians themselves, in their own words, direct and unfiltered. Peter Zimmerman's interviewing technique is straightforward. He turns on a recording device, poses questions, and allows his subjects to improvise, similar to the way the musicians do at concerts and in recording sessions. Topics range from their early days, their struggles and victories, to the impact the music has had on their own lives. The interviews have been carefully edited for sense and clarity, without changing any of the musicians' actual words. Peter Zimmerman tirelessly sought virtuosi whose lives span the twentieth and twenty-first centuries. The reader is rewarded with an intimate look into the past century's extraordinary period of creative productivity. The oldest two interview subjects were born in 1920 and all are professional musicians who worked in jazz for at least five decades, with a few enjoying careers as long as seventy-five years. These voices reflect some seventeen hundred years of accumulated experience yielding a chronicle of incredible depth and scope. The focus on musicians who are now emeritus figures is deliberate. Some of them are now in their nineties; six have passed since 2012, when Zimmerman began researching The Jazz Masters. Five of them have already received the NEA's prestigious Jazz Masters award: Sonny Rollins, Clark Terry, Yusef Lateef, Jimmy Owens, and most recently, Dick Hyman. More undoubtedly will one day, and the balance are likewise of compelling interest. Artists such as David Amram, Charles Davis, Clifford Jordan, Valery Ponomarev, and Sandy Stewart, to name a few, open their hearts and memories and reveal who they are as people. This book is a labor of love celebrating the vibrant style of music that Dizzy Gillespie once described as “our native art form.” Zimmerman's deeply knowledgeable, unabashed passion for jazz brings out the best in the musicians. Filled with personal recollections and detailed accounts of their careers and everyday lives, this highly readable, lively work succeeds in capturing their stories for present and future generations. An important addition to the literature of music, The Jazz Masters goes a long way toward “setting the record straight.” Adam Bobeck is a PhD candidate in Cultural Anthropology at the University of Leipzig. His PhD is entitled “Object-Oriented Azadari: Shi'i Muslim Rituals and Ontology”. For more about his work, see www.adambobeck.com. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/african-american-studies
The Jazz Masters: Setting the Record Straight (UP of Mississippi, 2021) is a celebration of jazz and the men and women who created and transformed it. In the twenty-one conversations contained in this engaging and highly accessible book, we hear from the musicians themselves, in their own words, direct and unfiltered. Peter Zimmerman's interviewing technique is straightforward. He turns on a recording device, poses questions, and allows his subjects to improvise, similar to the way the musicians do at concerts and in recording sessions. Topics range from their early days, their struggles and victories, to the impact the music has had on their own lives. The interviews have been carefully edited for sense and clarity, without changing any of the musicians' actual words. Peter Zimmerman tirelessly sought virtuosi whose lives span the twentieth and twenty-first centuries. The reader is rewarded with an intimate look into the past century's extraordinary period of creative productivity. The oldest two interview subjects were born in 1920 and all are professional musicians who worked in jazz for at least five decades, with a few enjoying careers as long as seventy-five years. These voices reflect some seventeen hundred years of accumulated experience yielding a chronicle of incredible depth and scope. The focus on musicians who are now emeritus figures is deliberate. Some of them are now in their nineties; six have passed since 2012, when Zimmerman began researching The Jazz Masters. Five of them have already received the NEA's prestigious Jazz Masters award: Sonny Rollins, Clark Terry, Yusef Lateef, Jimmy Owens, and most recently, Dick Hyman. More undoubtedly will one day, and the balance are likewise of compelling interest. Artists such as David Amram, Charles Davis, Clifford Jordan, Valery Ponomarev, and Sandy Stewart, to name a few, open their hearts and memories and reveal who they are as people. This book is a labor of love celebrating the vibrant style of music that Dizzy Gillespie once described as “our native art form.” Zimmerman's deeply knowledgeable, unabashed passion for jazz brings out the best in the musicians. Filled with personal recollections and detailed accounts of their careers and everyday lives, this highly readable, lively work succeeds in capturing their stories for present and future generations. An important addition to the literature of music, The Jazz Masters goes a long way toward “setting the record straight.” Adam Bobeck is a PhD candidate in Cultural Anthropology at the University of Leipzig. His PhD is entitled “Object-Oriented Azadari: Shi'i Muslim Rituals and Ontology”. For more about his work, see www.adambobeck.com. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/new-books-network
The Jazz Masters: Setting the Record Straight (UP of Mississippi, 2021) is a celebration of jazz and the men and women who created and transformed it. In the twenty-one conversations contained in this engaging and highly accessible book, we hear from the musicians themselves, in their own words, direct and unfiltered. Peter Zimmerman's interviewing technique is straightforward. He turns on a recording device, poses questions, and allows his subjects to improvise, similar to the way the musicians do at concerts and in recording sessions. Topics range from their early days, their struggles and victories, to the impact the music has had on their own lives. The interviews have been carefully edited for sense and clarity, without changing any of the musicians' actual words. Peter Zimmerman tirelessly sought virtuosi whose lives span the twentieth and twenty-first centuries. The reader is rewarded with an intimate look into the past century's extraordinary period of creative productivity. The oldest two interview subjects were born in 1920 and all are professional musicians who worked in jazz for at least five decades, with a few enjoying careers as long as seventy-five years. These voices reflect some seventeen hundred years of accumulated experience yielding a chronicle of incredible depth and scope. The focus on musicians who are now emeritus figures is deliberate. Some of them are now in their nineties; six have passed since 2012, when Zimmerman began researching The Jazz Masters. Five of them have already received the NEA's prestigious Jazz Masters award: Sonny Rollins, Clark Terry, Yusef Lateef, Jimmy Owens, and most recently, Dick Hyman. More undoubtedly will one day, and the balance are likewise of compelling interest. Artists such as David Amram, Charles Davis, Clifford Jordan, Valery Ponomarev, and Sandy Stewart, to name a few, open their hearts and memories and reveal who they are as people. This book is a labor of love celebrating the vibrant style of music that Dizzy Gillespie once described as “our native art form.” Zimmerman's deeply knowledgeable, unabashed passion for jazz brings out the best in the musicians. Filled with personal recollections and detailed accounts of their careers and everyday lives, this highly readable, lively work succeeds in capturing their stories for present and future generations. An important addition to the literature of music, The Jazz Masters goes a long way toward “setting the record straight.” Adam Bobeck is a PhD candidate in Cultural Anthropology at the University of Leipzig. His PhD is entitled “Object-Oriented Azadari: Shi'i Muslim Rituals and Ontology”. For more about his work, see www.adambobeck.com. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/performing-arts
The Jazz Masters: Setting the Record Straight (UP of Mississippi, 2021) is a celebration of jazz and the men and women who created and transformed it. In the twenty-one conversations contained in this engaging and highly accessible book, we hear from the musicians themselves, in their own words, direct and unfiltered. Peter Zimmerman's interviewing technique is straightforward. He turns on a recording device, poses questions, and allows his subjects to improvise, similar to the way the musicians do at concerts and in recording sessions. Topics range from their early days, their struggles and victories, to the impact the music has had on their own lives. The interviews have been carefully edited for sense and clarity, without changing any of the musicians' actual words. Peter Zimmerman tirelessly sought virtuosi whose lives span the twentieth and twenty-first centuries. The reader is rewarded with an intimate look into the past century's extraordinary period of creative productivity. The oldest two interview subjects were born in 1920 and all are professional musicians who worked in jazz for at least five decades, with a few enjoying careers as long as seventy-five years. These voices reflect some seventeen hundred years of accumulated experience yielding a chronicle of incredible depth and scope. The focus on musicians who are now emeritus figures is deliberate. Some of them are now in their nineties; six have passed since 2012, when Zimmerman began researching The Jazz Masters. Five of them have already received the NEA's prestigious Jazz Masters award: Sonny Rollins, Clark Terry, Yusef Lateef, Jimmy Owens, and most recently, Dick Hyman. More undoubtedly will one day, and the balance are likewise of compelling interest. Artists such as David Amram, Charles Davis, Clifford Jordan, Valery Ponomarev, and Sandy Stewart, to name a few, open their hearts and memories and reveal who they are as people. This book is a labor of love celebrating the vibrant style of music that Dizzy Gillespie once described as “our native art form.” Zimmerman's deeply knowledgeable, unabashed passion for jazz brings out the best in the musicians. Filled with personal recollections and detailed accounts of their careers and everyday lives, this highly readable, lively work succeeds in capturing their stories for present and future generations. An important addition to the literature of music, The Jazz Masters goes a long way toward “setting the record straight.” Adam Bobeck is a PhD candidate in Cultural Anthropology at the University of Leipzig. His PhD is entitled “Object-Oriented Azadari: Shi'i Muslim Rituals and Ontology”. For more about his work, see www.adambobeck.com. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/biography
The Jazz Masters: Setting the Record Straight (UP of Mississippi, 2021) is a celebration of jazz and the men and women who created and transformed it. In the twenty-one conversations contained in this engaging and highly accessible book, we hear from the musicians themselves, in their own words, direct and unfiltered. Peter Zimmerman's interviewing technique is straightforward. He turns on a recording device, poses questions, and allows his subjects to improvise, similar to the way the musicians do at concerts and in recording sessions. Topics range from their early days, their struggles and victories, to the impact the music has had on their own lives. The interviews have been carefully edited for sense and clarity, without changing any of the musicians' actual words. Peter Zimmerman tirelessly sought virtuosi whose lives span the twentieth and twenty-first centuries. The reader is rewarded with an intimate look into the past century's extraordinary period of creative productivity. The oldest two interview subjects were born in 1920 and all are professional musicians who worked in jazz for at least five decades, with a few enjoying careers as long as seventy-five years. These voices reflect some seventeen hundred years of accumulated experience yielding a chronicle of incredible depth and scope. The focus on musicians who are now emeritus figures is deliberate. Some of them are now in their nineties; six have passed since 2012, when Zimmerman began researching The Jazz Masters. Five of them have already received the NEA's prestigious Jazz Masters award: Sonny Rollins, Clark Terry, Yusef Lateef, Jimmy Owens, and most recently, Dick Hyman. More undoubtedly will one day, and the balance are likewise of compelling interest. Artists such as David Amram, Charles Davis, Clifford Jordan, Valery Ponomarev, and Sandy Stewart, to name a few, open their hearts and memories and reveal who they are as people. This book is a labor of love celebrating the vibrant style of music that Dizzy Gillespie once described as “our native art form.” Zimmerman's deeply knowledgeable, unabashed passion for jazz brings out the best in the musicians. Filled with personal recollections and detailed accounts of their careers and everyday lives, this highly readable, lively work succeeds in capturing their stories for present and future generations. An important addition to the literature of music, The Jazz Masters goes a long way toward “setting the record straight.” Adam Bobeck is a PhD candidate in Cultural Anthropology at the University of Leipzig. His PhD is entitled “Object-Oriented Azadari: Shi'i Muslim Rituals and Ontology”. For more about his work, see www.adambobeck.com. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/american-studies
Captured by Brotherhood forces, and imprisoned in their stronghold, the wastelanders must find a way to escape as the conflict between The Brotherhood and The Cause escalates. DOWNLOAD OFFICIAL FALLOUT RPG NPC SHEETS FOR CHARACTERS FROM THE SHOW! https://www.modiphius.net/pages/falloutrpg_download Check out our custom URL and visit Modiphius - modiphius.net/respectthecrit ...and use code RTC10 at checkout for 10% off all Fallout 2d20 RPG merchandise! Follow the show - @RespectTheCrit Sunny Takase & Host - Ian Duncan @iduncs Lance Burnett - Xavier Trudeau-Deschênes @xavierTD Gerry - Susan Spenader @sueslalues Trish - Jamie Lee-Bonés @jamielee.bones Overseer - Alex Herrera @aeherrera Original music provided with license or permissions by: "Some Things Never Change" by Miracle of Sound Purchase tracks and pay what you can at Bandcamp Original music from Nir Shor and the Musical Lore Fallout Mod Music used with permission from the Fallout: Cascadia project Music used with permission by the Cyro Chamber label: "First Contact" by EXIMIA Find more dark ambient at cryochamber.bandcamp.com or on YouTube Music from Filmmusic.io: "The Question Is (Quizpackage)" by Sascha Ende Link: https://filmmusic.io/song/228-the-question-is-quizpackage- License: https://filmmusic.io/standard-license "City Run" by Raphael Krux Link: https://filmmusic.io/song/5325-city-run- License: https://filmmusic.io/standard-license "Final Step" by Raphael Krux Link: https://filmmusic.io/song/5294-final-step- License: https://filmmusic.io/standard-license Music from Free Music Archive: "Smoldering" by Kai Engel Link: https://freemusicarchive.org/music/Kai_Engel/Chapter_Four__Fall/Kai_Engel_-_Chapter_Four_-_Fall_-_09_Smoldering License: https://creativecommons.org/licenses/by-nc/4.0/ "Jazzmasters and Delay Pedals" by Rest Your Sleeping Giant Link: https://freemusicarchive.org/music/Rest_You_Sleeping_Giant/Songs_for_a_Sad_Guitar/Rest_You_Sleeping_Giant_-_Songs_for_a_Sad_Guitar_-_09_Jazzmasters_and_Delay_Pedals License: https://creativecommons.org/licenses/by-nc/4.0/ "Cascade" by Peter Biedermann Link: https://freemusicarchive.org/music/Peter_Biedermann/Live_at_WFMU_on_Irene_Trudels_Show_51109/Cascade License: https://creativecommons.org/licenses/by-nc-nd/3.0/us/ Additional music and sound by: "Post Apocalyptic Wastelands" by Juhani Junkali "Washington Post March" by John Philip Sousa performed by the United States Marine Band TableTop Audio Syrinscape Freesound.org MusicFilmStudio via Audio Jungle Pro Scores from Video Copilot Monument Studios Special thank you to our friends at Modiphius Entertainment Whatever the system, whether it's a miss or a hit, you always gotta respect the crit!
Episode 426 is brought to you by... Big Ear Pedals: https://www.bigearpedals.com/ Chase Bliss Audio: https://www.chaseblissaudio.com/ Support this channel: https://www.patreon.com/60CycleHumcast Want to send us mail? 60 Cycle Hum #615 9450 Mira Mesa Blvd. San Diego, CA 92126 I was sick this past week but I'm feeling better now Join us on a global word association game Wandre Brigitte Steve ordered a new notebook First Jazzmaster Built like a tank This week's song was by Blugubrious and is called "Push" ***************************** 60CH on Patreon: https://www.patreon.com/60CycleHumcast Buy Something with our affiliate links: Buy a Shirt - https://teespring.com/stores/60-cycle-hum Sweetwater: https://imp.i114863.net/rMb1D Thomann: https://www.thomannmusic.com?offid=1&affid=405 Amazon: https://amzn.to/2PaUKKO Ebay: https://ebay.to/2UlIN6z Reverb: https://reverb.grsm.io/60cyclehum6164 Cool Patch Cables: https://www.tourgeardesigns.com/discount/60cyclehum +++++++++++++++++++++ Social Media Stuff: Facebook: https://www.facebook.com/groups/60cyclehum/ Discord: https://discord.gg/nNue5mPvZX Instagram and Twitter @60cyclehum TikTok: https://www.tiktok.com/@60cyclehum? Hire us for Demos and other marketing opportunities https://60cyclehumcast.com/marketing-packages/ #60cyclehum #guitar #guitars #shameflute
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