Another TDPRI Backing Track

I have been doing a lot of TDPRI backing tracks. This one wouldn’t upload on Soundcloud because even though the creator of the backing track gave permission, Soundcloud thinks that uploading it is a copyright violation. It’s just an acoustic guitar track that I put a lead on. Let’s try it here:

You can hear lots of my contributions by going to soundcloud.com and searching on “guitarsophist.”

 

 

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Hotone Mojo Diamond

A long time ago I bought a Crate VC 508, a 5 watt tube amp with an 8″ speaker, an amp that a colleague recently took for a long term unauthorized loan (long story). When I had the amp, I thought it would sound better with a 12″ speaker, so at one point a bought a Carvin tweed extension cabinet at a closeout sale.  I still had the cabinet, so I thought I would buy an amp head for it.  There are lots of little micro amps around these days. I ended up with a Hotone Mojo Diamond (around $100), one of their amps in their legacy series. It is supposed to sound like a Fender tweed amp from the 1950’s. In a way, it does. Here’s a pic:

IMG_0489

It’s 5 watts, solid state, and tiny. It has the footprint of cellphone. Even so, it has gain, three band eq, and volume controls. It also has an EFFECTS LOOP. What it doesn’t have is reverb. To go in the effects loop, I also bought a cheap reverb pedal, a Biyang Tri Reverb (around $45). Here is the whole rig:

CarvinCab

How loud is it? Not enough to gig with, but fine for practice and recording. It is also very sensitive to pickups. With single coil strat pickups, it doesn’t want to break up, even with the gain all the way up. But with humbuckers, it can sound like an old bluesy tweed amp. Actually it surprised me with a pretty authentic T-Bone Walker kind of tone. Here is a short blues with my Agile LP with humbuckers. Everything is pretty much at 12 o’clock on the rhythm guitar. The lead is with the gain all the way up and the volume backed off. I miced it with a GL-57, a Shure SM-57 clone.

The Biyang reverb pedal also exceeded my expectations. It is really easy to use. It has a blend control which controls the amount of reverb and a time control that controls how long the reverb tails are. Then it has a three-way mini toggle for room, spring and hall reverbs and another toggle for “A” and “B” modes. “B” is basically normal and “A” is crazy mode. Here is a track with my strat going through the Mojo Diamond with the Tri Reverb in the effects loop. I might have gone overboard on the reverb.

I didn’t need another amp, but I already had the cabinet (with a Carvin VL12 in it, a vintage-style speaker made by Eminence) and I will have a lot of fun with this rig.

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SoundCloud

The folks on the telecaster discussion board are used to using SoundCloud to host the tracks they create for their Backing Track Challenge activity. Several told me that I would get more attention if I posted Soundcloud links instead of links to files on my blog. I decided to get with the program and start posting tracks to SoundCloud.

Recent tracks include the following:

Another pop track

A jazz sort of thing in 9/8

A slow pop thing

I have been having a lot of fun with this. None of the tracks are perfect. Everybody does them fast, often in one take. It is part of the game.

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Tweed Pignose

A few years ago I acquired a tweed Pignose. I don’t think I have posted about it here before. Here’s a pic:

TweedPignose

The first thing I will say is that it looks way cooler than it sounds. It sounds best if you think of it as a distortion pedal that also functions as an amp. I had it in my office for a while, where it served pretty well as a very low volume practice amp. It can get loud, but it won’t be clean. I’ll try to put up a clip later.

It runs on AA batteries, but you can get a power supply for it. When it first came out, in the 1970’s I think, it was revolutionary, but these days there are better options.

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Still More TDPRI STuff

This is a slow rock thing that is reminiscent of Neil Young. I played my strat through Tonelib. I did it in one take, so it is what it is.

This is a blues shuffle. I got out my Roland Ready Stratocaster and my GR-20 Guitar Synth and put a saxophone on it. Then I put a lead on it with the aforementioned Stratocaster. It may have been too much because the backing track was already pretty well populated.

Here is a slight remix of the above track. I boosted the level of the guitar a little, put a touch of reverb on the sax to put it back in the mix a bit, and put some compression on the master.

Here is one called “Wake Me Up.” It’s a pop backing track. It’s my strat in the neck/mid quack position, through Tonelib. It’s designed to be clean and sweet.

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More TDPRI Backing Tracks

This is a “Slow Pop” backing track. I used my Tele through the Tonelib Deluxe amp sim with Bounce reverb, a Marshall 4×12 cabinet, and a simulation of a Klon Centaur distortion pedal.

They had a “Big Band” track up that was based on the chords for “Embraceable You,” but I don’t have the jazz chops to attempt that one.

Here’ another. For this one I used my guitalele.

Here is a slightly altered version of the country blues thing. The first note was jumping out way too loud and it was through the whole first impression of the track off. It was bugging me, so I adjusted the volume envelop for the track to tame that note. Now the first phrase makes sense.

This one is called Monday Madness:

The Tele is on the left, the Casino on the right.

One more for this post. This is a track in 3/4 in G, that uses almost all the chords in the key. I used my Casino through the Deluxe model in Tonelib with Dragonfly reverb.

OK, one more. This is funk in D lydian. I used my Tele.

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Just Like Tom . . .

Today, Craig and I got together and took all day to produce one track, a cover of a Dylan song.

Craig played rhythm guitar (an orange Tele with a mini humbucker), lead guitar (my Agile LP copy on the bridge pickup) both through his Acoustic Image amp, and bass (my Douglas violin bass) recorded direct with adjustments through the Bass Professor II plugin. He also did the vocal. I played drums and was the recording engineer.

We think it sounds pretty good. It is almost a professional track, by our very suspect standards.

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